BALTZELL'S 

DICTIONARY  OF 

MUSICIANS 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


IN  MEMORY  OF 
MRS.  VIRGINIA  B.  SPORER 


BALTZELL'S 
DICTIONARY  OF  MUSICIANS 


CONTAINING  CONCISE  BIOGRAPHICAL  SKETCHES 
OF  MUSICIANS  OF  THE  PAST  AND  PRESENT 
WITH  THE  PRONUNCIATION  OF  FOREIGN  NAMES 


BY 

W.  J.  BALTZELL 


BOSTON 
OLIVER  DITSON  COMPANY 

NEW  YORK  CHICAGO 

CHAS.  H.  DITSON  &  Co.  LYON  &  HBALY 

Copyright  MCMXI  by  Oliver  Dltson  Company 


EDITOR'S  NOTE 

THE  present  work  has  been  prepared  in  response  to  many 
inquiries  and  a  frequently  expressed  need  for  a  concise  dictionary 
in  one  volume,  compact  in  size  and  moderate  in  price,  that  shall 
include  biographical  sketches  of  eminent  musicians  and  persons 
connected  with  musical  work,  past  and  present,  with  special 
attention  to  Americans. 

No  attempt  has  been  made  to  present  lengthy  sketches  of  the 
great  masters,  as  there  is  abundant  material  in  the  larger  diction- 
aries and  the  many  biographies  now  on  the  market.  The  aim  has 
been  rather  to  gather  data  about  musicians,  especially  contem- 
poraries, who  are  not  mentioned  in  the  books  previously  published. 
This  material  has  been  taken  from  magazine  and  newspaper 
articles,  clippings  from  various  sources  and  from  available  works 
of  reference.  When  possible,  data  have  been  secured  direct  from 
the  subjects  of  the  sketches.  These  latter  have  been  made  as 
concise  as  possible,  yet  sufficiently  comprehensive  to  show  the 
main  facts  in  a  musician's  career,  those  which  contributed  toward 
musical  development,  such  as  early  environment,  education  (both 
literary  and  musical),  various  fields  of  professional  activity,  com- 
positions, literary  works,  etc. 

The  Editor  and  the  Publisher  are  greatly  indebted  to  Miss 
Marguerite  Barton,  of  Boston,  who  rendered  valuable  assistance 
in  gathering  the  material  upon  which  the  sketches  were  based  and 
in  preparing  the  first  draft  of  the  manuscript. 

Care  has  been  exercised  to  include  only  authenticated  dates. 
When  the  available  material  did  not  agree  the  Editor  has  chosen 
the  date  most  inherently  probable.  In  the  case  of  Russian  com- 
posers, when  possible,  dates  have  been  made  to  conform  with  the 
calendar  as  used  by  Western  Europe,  instead  of  the  "  old  style  " 
followed  in  Russia. 

It  will  be  esteemed  a  favor  if  readers  will  call  our  attention  to 
positive  errors.  With  the  best  intentions  in  preparing  the  original 
manuscript,  and  the  utmost  care  in  proof-reading,  errors  may  have 
been  made. 

THE  EDITOR. 

BOSTON,  MASS.,  November,  1910. 


NOTES  ON   PRONUNCIATION  OF  NAMES  OF 
FRENCH  COMPOSERS 


RULES  FOR  PRONUNCIATION 

VOWELS 

a  as  in  fat.  i  as  in  pine. 

a  as  in  fate.  o  as  in  not. 

a  as  in  father.  6  as  in  note, 

a  as  in  fair.  6  as  in  move, 

e  as  in  met.  6  as  in  or. 

e  as  in  mete.  *6 

e"  as  in  err.  ii  like  u  in  quip,  almost  whistled; 
i  as  in  in.  German  vi. 

*  6  has  a  rounder  sound  than  the  6  in  or,  and  is  followed  by  the  French 
nasal  n. 

CONSONANTS 

g  as  in  gap.  z  as  in  zoo. 

fi  like  first  n  in  onion.  r  is  usually  trilled  in  French,  except 

s  as  in  see.  at  the  end  of  some  words. 

An  accent  (d')  after  a  consonant  in  French  names  indicates  that  this  is  to 
be  sounded. 

The  preceding  phonetic  table  gives  the  approximate  sounds  of 
the  French  letters  as  nearly  as  the  English  language  will  permit. 
It  is  impossible  to  reproduce  the  exact  shades  and  differences  of 
vowel  sounds,  or  of  the  nasal  sounds,  of  the  French  language. 
They  can  be  learned  only  from  a  competent,  native  instructor; 
and,  even  so,  great  care  must  be  exercised  in  the  choice  of  a  teacher, 
— that  he  be  not  a  provincial,  but  one  who  is  a  native  of  Tours 
or  of  Paris. 

The  chief  peculiarity  of  French  pronunciation,  as  opposed  to 
English,  is  the  absolute  absence  of  any  stress  or  emphasis  upon  any 
syllable  of  a  word.  The  less  emphasis  (or  accent,  as  it  is  termed 
in  French)  used,  and  the  more  evenly  the  syllables  are  pronounced 
(all  of  even  length,  and  weight,  and  pitch)  the  purer  the  pronun- 
ciation. It  is  for  this  reason  that  the  purest  French  is  that  spoken 
in  the  towns  of  Tours,  Chinon,  Loches,  Amboise,  and  a  few  others, 
in  the  old  province  of  la  Touraine,  now  known  as  the  department 
of  Indre-et-Loire.  There  the  language  is  spoken  by  everyone  with- 
out the  least  syllabic  emphasis  and  without  any  drawling. 

While  in  other  respects  the  language  as  spoken  in  Paris  by  the 
educated  classes  is  excellent,  yet  the  Parisians  have  a  tendency 
to  drawl  their  words  somewhat.  However,  since  Paris  society 


2042033 


sets  the  style  in  speech,  as  in  all  other  things  French,  so  Parisian 
French  is  considered  to  be  super-excellent. 

Apart  from  their  other  peculiarities  of  accent,  Americans  and 
English  are  readily  recognized  by  their  sing-song,  inordinate 
drawling  way  of  speaking.  This  is  well  exemplified  by  the  word 
"Trocade'ro,"  pronounced  (English)  Trocade'ro,  while  in  French 
it  is  Tro-ca-da-ro — all  the  syllables  of  even  pitch  and  equal 
length,  without  any  emphasis. 

The  syllables,  therefore,  of  all  these  names  should  flow  rapidly 
from  one  to  the  other,  without  any  syllabic  stress  whatever,  and 
without  dwelling  upon  any  final  syllables. 

In  the  case  of  the  phonetics  (6-a)  for  ois,  oil,  they  must  be 
pronounced  smoothly  like  one  composite  vowel  (wah). 

As  a  general  rule  final  consonants  are  never  pronounced 
(except  the  letters  c,  f,  I)  save  in  some  names  of  foreign  origin. 
When  a  final  s  is  preceded  by  an  e  it  is  sounded,  as  well  as  the 
final  s  in  names  from  the  Catalan,  Basque,  and  Spanish.  "Gil 
Bias,"  for  example,  the  Parisian  newspaper,  is  pronounced  zhil'- 
blas' — both  the  I  and  the  s  being  sounded,  because  of  Spanish 
origin. 

Formerly  II  was  pronounced  as  in  William.  This  is  no  longer 
the  custom,  and  the  sound  of  y  is  given  to  II;  Ih  (Paladilhe)  takes 
the  same  sound. 

J,  ge,  and  gi,  have  the  sound  of  zh.  Gn  is  like  n  in  onion. 
S,  between  two  vowels,  is  pronounced  like  z.  Ch  has  always  the 
sound  of  sh,  save  in  some  words  of  foreign  origin. 

Difficult  sounds  to  acquire  are  the  so-called  nasal  combinations 
of  an,  am,  en,  em,  in,  im,  ain,  aim,  on,  om,  un.  From  following- 
printed  phonetics  many  have  treated  these  as  guttural  sounds 
and  pronounced  them  as  ang,  ong,  etc.,  while  others  have  gone  to 
another  extreme  and  placed  them  in  the  nose.  As  a  matter  of 
fact  they  are  semi-nasals;  that  is,  the  letter  n  is  not  plainly  pro- 
nounced, but  it  is  sketched,  as  it  were,  by  projecting  it  towards 
the  upper  pharynx,  or  towards  the  nasal  cavities  (but  not  in  them), 
in  the  same  way  that  the  covered  or  head  tones  are  correctly  pro- 
duced in  singing.  In  like  combinations  the  letter  m  is  treated 
in  the  same  way  and  has  the  same  sound  as  the  letter  n. 

Finally,  too  much  attention  cannot  be  given  to  the  practice 
of  speaking  on  the  lips,  with  the  lips,  and  with  a  forward  forma- 
tion for  att  the  syllables.  It  is  only  by  observing  this  recommen- 
dation that  a  fluent,  pretty,  and  accurate  accent  can  be  obtained. 
It  is  the  only  way  to  acquire  the  letter  u,  that  most  difficult 
vowel  for  English  speakers — by  the  forward,  whistling  position 
of  the  lips. 

ARTHUR  DE  GUICHARD. 


NOTES  ON  PRONUNCIATION  OF  NAMES  OF 
RUSSIAN  COMPOSERS 

(Including  other  Slavonic  Nationalities) 

As  a  rule  the  emphasis  lies  upon  the  penult;  for  example, 
David'off .  Exception  is  made  when  the  first  syllable  (or  syllables) 
has  a  definite  meaning  as  in  Glazounoff,  where  glaz  means  "the 
eye." 

Another  exception  is  when  the  final  syllable  "off"  does  not 
indicate  the  genitive,  like  the  French  "de,"  but  is  part  and  parcel 
of  the  name  itself;  for  example  Rachman'inoff,  from  rachmannyi, 
meaning  "heavy,  awkward";  or  Reb'ikoff,  from  rebyonok,  "a 
child." 

In  many  names  ending  in  "eff  "  or  "ev"  the  pronunciation  is 
not  that  of  the  English  short  "e,"  but  about  that  of  "off";  for 
example:  Alabieff  is  pronounced  A-la-byoff,  three  syllables; 
Soloviev  is  Sol-o-vyoff;  but  Taneiev  is  Tan-e-yeff. 

The  ending  "  vitch,"  "  witsch,"  means  "the  son  of,"  if  it  occurs, 
as  it  always  does,  in  a  man's  forename  or  Christian  name;  it  is 
then  not  emphasized.  In  a  family  name,  however,  the  emphasis 
changes  from  the  antepenult  to  the  penult;  for  example,  Gabrilov'- 
ich,  Gregorov'ich. 

The  i  in  a  diphthong  (ia,  ie),  has  the  force  of  y;  for  example, 
Liadov  is  pronounced  Lya'doff ;  Liapounoff  becomes  Lya'pounoff ; 
Taneiev,  Tane'yeff;  Scriabine,  Skrya'bin. 

CONSTANTIN  VON  STERNBERG. 


op.  Opera 

orch.  Orchestra 

org.  Organ 

orgt.  Organist 

gt.  Pianoforte 

hilh.  Philharmonic 

pst.  Pianist 

qt.  Quartet 

Roy.  Royal 

sch.  School 

Soc.  Society 

sop.  Soprano 
symph.  Symphony,  Symphonic 

th.  Theatre 

Univ.  University 

via.  Viola 

vln.  Violin 

vlt.  Violinist 


Accomp. 

Accompaniment 

b. 

Born 

bar. 

Baritone 

Cath. 

Cathedral 

capellm 

Capellmeister 

ch. 

Church 

Coll. 

College 

comp. 

Composed 

compr 
condr. 

Composer 
Conductor 

Cons. 

Conservatory 

d. 

Died 

dir. 

Director 

dram 

Dramatic 

instr. 

Instrument 

harm. 

Harmony 

mue. 

Music 

Mus.  B. 

Bachelor  of  Music 

Mus.  Doc. 

Doctor  of  Music 

Op. 

Opus 

BALTZELL'S  DICTIONARY  OF  MUSICIANS 


ABBEY 

Abbey,  John,  org.  builder,  b.  Whilton, 
Eng.,  Dec.  22,  1785;  d.  Versailles, 
Feb.  19,  1859.  Trained  under  Davis 
and  Russell;  went  to  France  at  invi- 
tation of  S6b.  Erard;  improved 
French  organs  by  English  mechan- 
ism; among  many  orgs.  built  first  in 
Paris  Ope'ra.  Left  sons  E.  and  J. 
in  same  business. 

Abbott,  Emma,  dram.  sop.  b.  Chicago, 
Dec.  9,  1850;  d.  Salt  Lake  City,  Jan. 
5,  1891.  After  early  struggles  as 
concert  singer  and  guitar  player,  was 
assisted  by  Clara  Louise  Kellogg; 
studied  under  Erani  in  N.  Y.,  San 
Giovanni  and  Delle  Sedie  in  Europe; 
d6but,  London,  May,  1876;  Ameri- 
can d<§but,  N.  Y,  Feb.,  1877;  won 
great  success  in  Europe  and  America. 

Abeille  (ab-a-ye1),  Johann  Christian 
Ludwig,  pst.,  orgt.,  condr.,  compr.  b. 
Bayreuth,  Ger.,  Feb.  20,  1761;  d. 
Stuttgart,  Mar.  2,  1838.  Composed 
2  operas,  harpsichord  and  chamber 
music,  and  school  songs. 

Abel  (ii-bel),  Karl  Friedrich,  last  viola 
da  gamba  player,  compr.  b.  Co  then, 
Ger.,  1725;  d.  London,  June  20, 
1787.  Trained  by  father,  Christian 
Ferdinand  (at  court  of  Co  then,  1720- 
1737)  and  at  the  Thomasschule, 
Leipzig,  by  J.  S.  Bach;  lived  in  Lon- 
don after  1759;  gave  concerts  there 
with  J.  C.  Bach;  composed  concertos, 
sonatas,  etc.,  and  works  (many  un- 
published) for  viola  da  gamba.  J.  B. 
Cramer  a  pupil. 

Abel,  Ludwig,  vlt.,  compr.,  condr.  b. 
Eckartsberge,  Thuringia,  Jan.  14, 
1835;  d.  Neu-Pasing,  near  Munich, 
Aug.  13,  1895.  Pupil  of  Ferd. 
David;  leader  of  Munich  orch.; 
teacher  at  Royal  School  of  Music; 
composed  violin  method,  studies,  etc. 


ACKTE 

Abert  (a-bert),  Johann  Joseph,  compr. 
b.  Kochowitz,  Bohemia,  Sept.  21, 
1832.  Educated  as  chorister  at 
Gastdorf,  at  Leipa  monastery,  pupil 
at  Prague  Cons,  under  Kittl  and 
Tomaczek;  member  of  Stuttgart 
court  band,  1852-1888;  composed 
symph.,  symph.  poem  Columbus,  4 
operas,  songs,  etc.  Son  Hermann 
mus.  historian. 

Abranyi  (a-bran'-ye),  Kernel,  compr., 
writer,  b.  Szent  Gyorgz  Abranyi, 
Hungary,  Oct.  15,  1822;  d.  Bu- 
dapest, Dec.  20,  1903.  Pupil  of 
Chopin  and  Kalkbrenner;  founded 
first  Hungarian  music  journal  1860; 
prof,  at  Nat.  Mus.  Acad.,  Pesth; 
promoter  of  national  music;  com- 
posed songs,  choruses,  etc.,  in  na- 
tional vein.  Son  Emil  (b.  1880), 
composer. 

Abt  (abt),  Franz,  compr.  b.  Eilenburg, 
Ger.,  Dec.  22,  1819;  d.  Wiesbaden, 
Mar.  31,  1885.  Son  of  a  clergyman, 
studied  music  instead  of  theology, 
at  the  Thomasschule,  Leipzig,  and 
at  Leip.  Univ.;  capellmeister  at  Bern- 
burg,  Zurich,  and  Brunswick,  1841- 
1882;  visited  America,  conducted 
choral  society  concerts,  1872;  retired 
1882.  Composed  over  500  works, 
forgotten  pf.  pieces,  7  secular  can- 
tatas, innumerable  songs  and  part- 
songs,  distinguished  for  melodic 
facility  rather  than  depth.  Some 
songs,  as  Wenn  die  Schwalben  heim- 
warts  ziehn,  are  so  popular  that  they 
have  become  veritable  folk-songs. 
Son  Alfred  (1855-1888)  conductor. 

Ackte  (ak-ta/),  Aino,  dram.  sop.  b. 
Helsingfors,  Finland,  Apr.  23,  1876. 
Mother,  Emmy  Stromer,  popular 
opera  singer,  and  father,  condr.  and 
teacher,  first  trained  her;  she  studied 
under  Duvernoy,  Paris  Cons.,  1894- 
1897,  winning  3  prizes;  d6but  Oct. 


ADAM 

1897,  at  Paris  Ope"ra;  member  Paris 
Ope"ra,  and  1904  of  Metropolitan, 
N.  Y. 

Adam  (ad-on),  Adolphe  Charles,  opera 
compr.  b.  Paris,  July  24,  1803;  d. 
there,  May  3,  1856.  Studied  at 
Paris  Cons,  under  Boieldieu;  founded 
Theatre  National;  was  ruined  by 
Revolution  of  '48;  succeeded  father 
(Louis)  as  teacher  Paris  Cons.  1848; 
composed  graceful  ballets  and  53 
sparkling  light  operas;  Le  postilion 
de  Longjumeau  (1836)  still  widely 
popular;  Le  brasseur  de  Preston 
and  Leroi  d'Yvetot  deserve  revival; 
published  essays.  Souvenirs  d'un  mu- 
sicien,  and  Dernier s  souvenirs. 

Adam  (ad-on),  Louis,  pf.  teacher,  b. 
Miittersholtz,  Alsace,  Dec.  3,  1758; 
d.  Paris,  Apr.  8,  1848.  Taught 
himself  harp,  vln.,  and  composition; 
formed  own  pf.  style  from  study  of 
German  masters;  taught  pf.  Paris 
Cons.  1797-1842,  Kalkbrenner  and 
Harold  among  pupils;  published  pf. 
music  and  method. 

Adam  de  la  Halle  [or  Hale],  (ad-on  de"- 
la-al'),  trouvere.  b.  Arras,  abt.  1240; 
d.  Naples,  1287.  His  works,  chan- 
sons, etc.,  of  great  historical  value, 
especially  Le  jeu  de  Robin  et  de 
Marion,  an  early  forerunner  of 
comic  opera. 

Adamowski  (a-dam-of'-ski),  Josef,  'cel- 
list, b.  Warsaw,  Poland,  1862. 
Pupil  of  Fitzenhagen  and  Tchaikov- 
ski  (in  comp.);  member  of  Bost. 
Symph.  Orch.  1889-1907.  His  wife, 
Antoinette  Szumowska  (tsu-mof- 
ska),  pst.  b.  Lublin,  Poland,  Feb. 
22,  1868.  Pupil  of  Strubel,  Michal- 
ovski  in  Poland,  and  of  Paderewski 
in  Paris;  first  Boston  appearance 
1895;  successful  concert-player,  es- 
pecially delicate  and  sympathetic. 
Timothee,  vlt.  b.  Warsaw,-  Mar.  24, 
1858.  Studied  Warsaw  Cons,  and 
Paris  Cons,  under  Massart;  success- 
ful concerts  in  Europe  and  America; 
member  Bost.  Symph.  Orch.  1895- 
1907;  condr.  of  popular  summer 
concerts;  leader  of  Adamowski  Quar- 
tet (varying  members)  and  of  A. 
Trio  (with  his  brother  Josef  and 
the  latter's  wife). 

Adams,  Charles  R.,  dram.  ten.  b. 
Charlestown,  Mass.,  1848;  d.  W. 


AGRICOLA 

Harwich,  Mass.,  July  3,  1900.  Pupil 
of  Barbieri;  sang  in  opera  in  Berlin, 
Vienna,  London,  and  N.  Y.;  after 
1879  taught  in  Boston. 

Adams,  Stephen,  see  Maybrick,  Michael. 

Adams,  Thomas,  orgt.,  compr.  b.  Lon- 
don, Sept.  5,  1785;  d.  there,  Sept.  15, 
1858.  Pupil  of  Busby,  superintend- 
ent of  Apollonicon  Concerts,  orgt. 
at  several  churches;  composed  vol- 
untaries, fugues,  etc.,  and  anthems. 

Adler  (ad'-ler),  Guido,  writer.  b. 
Eibenschiitz,  Moravia,  Nov.  1,  1855. 
Educated  Vienna  Cons,  under  Bruck- 
ner and  Dessoff;  teacher  at  Vienna 
Univ.  and  Prague;  founder,  with 
others,  of  Vierteljahrschriftfur  Musik- 
wissenschaft,  1884;  editor  of  Denk- 
maler  der  Tonkunst  in  Oesterreich. 

Adler,  Vincent,  pst.,  compr.  b.  Raab, 
Hungary,  Apr.  3,  1826;  d.  Geneva, 
Jan.  4,  1871.  Studied  with  his 
father  and  with  Erkel  in  Vienna 
and  Paris;  prof,  at  Geneva  Cons. 
1865;  composed  pf.  music. 

Aegidius  (e-jid'-ius),  Johannes,  theor- 
ist. Spanish  Franciscan  friar  about 
1270;  wrote  Ars  musica. 

Agazzari  (a-gat-za'-re),  Agostino,  com- 
pr. b.  Siena,  Dec.  2,  1578;  d. 
there,  Apr.  10,  1640.  Influenced  by 
Viadana;  composed  masses,  motets, 
etc.,  one  of  first  to  give  instructions 
about  execution  of  figured  basses. 

Agostini  (a-gos-te-ne),  Paolo,  compr. 
b.  Valerano,  1593;  d.  Rome,  Sept., 
1629.  Pupil  of  Nanino;  among  first 
to  employ  large  numbers  of  voices 
in  divided  choirs;  composed  ch.  mus. 
which  combines  marvelous  contra- 
puntal skill  with  real  beauty. 

Agramonte  (a-gra-mon'-te),  Emilio, 
condr.,  singing  teacher,  b.  Puerto 
Principe,  Cuba,  Nov.  28,  1844. 
Studied  in  Spain  and  Paris,  singing 
with  Roger,  Selva  and  Delle  Sedie; 
teaching  and  conducting  choral 
societies  in  N.  Y.  since  1868. 

Agricola  (a-gri'-co-la),  JohannFriedrich, 
orgt.,  writer,  b.  Dobitz,  Saxony, 
Jan.  4,  1720;  d.  Berlin,  Dec.  1,  1774. 
Studied  under  J.  S.  Bach;  court 
composer  to  Frederick  the  Great; 
successor  of  Graun  as  director  of 


AGRICOLA 


ALDRICH 


Royal  Chapel;  wrote  music  of  no 
lasting  value,  and  critical  works  of 
some  historical  interest. 

Agricola,  Martin,  theorist,  b.  Sorau, 
Saxony,  1486;  d.  Magdeburg,  June 
10,  1556.  Music  teacher  and  cantor 
at  Magdeburg;  wrote  many  treatises 
of  great  value  to  history  of  instru- 
ments and  notation. 

Agujari  (a-go-ya'-re),  Lucrezia  (16- 
cra-tsi-a),  sop.,  known  as  La  Bastar- 
della.  b.  Ferrara,  1743;  d.  Parma, 
May  18,  1783.  Pupil  of  Lambertini; 
d6but  Florence  1764;  extraordinary 
success  throughout  Italy,  owing  to 
wonderful  range  (up  to  C  in  altis- 
simo) . 

Ahna  (a'-na),  Heinrich  Karl  Hermann 
de,  vlt.  b.  Vienna,  June  22,  1835; 
d.  Berlin,  Nov.  1,  1892.  Pupil  of 
Mayseder  and  Mildner;  d£but  Vien- 
na, 1847;  leader  Berlin  Royal  Orch., 
1868;  teacher  Royal  High  School 
for  Music;  member  Joachim  Quartet. 
Sister  Eleonore,  dram,  mezzo  sop. 
(1838-1865). 

Alabieff  (a-la-byof),  Alexander  Alexan- 
drovitch,  corner,  b.  Moscow,  Aug. 
16,  1787;  d.  there,  1852.  Composed 
•  many  songs  in  melodious,  popular 
style,  of  which  The  Nightingale  is 
especially  well  known. 

A.  L.,  see  Lehmann,  Amelia. 

Alard  (al'-ar'),  Jean  Delphine,  vlt., 
compr.  b.  Bayonne,  Mar.  8,  1815; 
d.  Paris,  Feb.  22,  1888.  Pupil  of 
Habeneck  at  Paris  Cons.;  teacher 
there  1843-1875,  Sarasate  among 
pupils;  leader  royal  orch.;  published 
vln.  method,  Etudes,  concertos,  etc. 
for  vln.;  edited  Les  MaUres  Classigues 
de  Violon. 

Albani  (al-ba-ne),  [pseud,  of  Mile. 
Marie  Louise  Cecile  Emma  Lajeu- 
nesse],  dram.  sop.  b.  Chambly, 
Canada,  Nov.  1,  1850.  Daughter 
of  a  harp  professor,  she  was  taught 
singing  at  convent,  and  sang  in 
cathedral  choir  in  Albany,  N.  Y. 
Studied  with  Duprez  in  Paris  and 
with  Lamperti  m  Milan;  de"but 
Messina  1870;  first  London  appear- 
ance 1872.  Has  sung  with  great 
success  in  opera  throughout  Europe 
and  in  U.  S.,  in  a  repertory  which 
varies  from  Lucia,  to  Isolde;  is  an 
especial  favorite  in  London  and 


England,  where  she  has  sung  in  many 
oratorios,  at  festival  concerts. 

Albert  (d'al'-bar),  Eugen  Francis 
Charles  d',  pst.,  compr.  b.  Glasgow, 
Apr.  10,  1864.  Son  of  Charles  Louis 
Napoleon  d'Albert  (1809-1886),  com- 
poser of  dance  music  and  teacher 
of  dancing.  Eugen  at  first  father's 
pupil;  elected  to  scholarship  at  Nat. 
Training  School,  London,  studied 
there  under  Pauer,  Prout,  Stainer 
and  Sullivan;  early  compositions 
produced  at  concerts;  having  won 
Mendelssohn  Scholarship,  went  to 
Vienna,  studied  with  Richter,  and 
Liszt  at  Weimar;  married  Teresa 
Carreno,  and  after  divorce,  1895, 
singer  Hermine  Fink;  now  having 
repudiated  all  English  antecedents, 
lives  in  Germany,  except  for  occa- 
sional successful  concert  tours.  Dis- 
tinguished as  pianist  by  great 
breadth  and  nobility  of  style,  es- 
pecially in  interpreting  Beethoven; 
as  composer,  fluent  and  earnest,  but 
lacking  in  marked  individuality; 
composed  symphony,  2  pf.  concertos, 
chamber  music  and  9  operas. 

Alberti,  Domenico,  compr.,  voc.,  pst. 
b.  Venice,  171-,  d.  1740.  Pupil  of 
Lotti;  won  fame  as  a  singer  and 
harpsichord  player,  and  wrote  a 
number  of  operas  in  the  prevailing 
style  and  sonatas  which  were  popular 
with  dilettanti.  He  is  credited  with 
the  invention  of  the  so-called  Alberti 
bass,  an  accompaniment  figure  much 
in  use  in  his  time  and  later. 

Albrechtsberger,  Johann  Georg,  orgt., 
teacher,  b.  Klosterneuberg,  Austria, 
Feb.  3,  1736;  d.  Vienna,  Mar.  7, 
1809.  Studied  under  Emmerling; 
court  orgt.  Vienna,  1772;  had  dis- 
tinguished career  as  teacher;  among 
his  pupils  were  Beethoven,  Hummel, 
Weigl,  and  Seyfried.  Very  few  com- 
positions are  printed  but  his  theo- 
retical work  Grundliche  Anweisung 
zur  Komposition,  1790,  is  widely 
known. 

Aldrich,  Henry,  compr.  b.  Westmin- 
ster, 1647;  d.  Oxford,  Dec.  14,  1710. 
Scholar,  architect,  dean  of  Christ 
Church,  collected  large  mus.  library, 
wrote  theoretical  works,  composed 
many  anthems  and  services,  as  well 
as  glees  and  catches. 


ALDRICH 

Aldrich,  Richard,  author,  musical  critic. 
b.  Providence,  R.  I.,  July  31,  1863. 
His  father  a  gifted  musical  ama- 
teur; showed  aptitude  for  music  as 
a  boy;  educated  at  Providence  High 
School  and  Harvard  College,  gradu- 
ated 1885;  studied  music  there  with 
Prof.  J.  K.  Paine;  1888-89  in 
Europe  for  study,  giving  much  atten- 
tion to  music;  entered  journalism, 
Providence  Journal,  1885,  acting  as 
musical  critic;  1889  in  Washington, 
D.  C.,  private  secretary  to  U.  S. 
Senator  Dixon,  music  critic  for. 
Washington  Star;  in  1891  joined 
the  staff  of  New  York  Tribune  and, 
with  other  work,  acted  as  assistant 
to  H.  E.  Krehbiel  until  Oct.  1902, 
when  he  became  regular  musical 
critic  for  the  Times,  a  position  he 
still  fills  (1910);  translated  Lilli 
Lehmann's  Meine  Gesangskunst 
(English  title  How  To  Sing);  wrote 
A  Guide  to  Parsifal,  a  Guide  to  the 
Ring  of  the  Nibelung;  contributor 
to  various  magazines. 

Alembert  (al'-on-bar'),  Jean  le  Rond  d', 
theorist,  b.  Paris,  Nov.  16,  1717; 
d.  there,  Oct.  29,  1783.  Wrote  works 
on  mus.  theory  according  to  Ra- 
meau,  investigations  in  acoustics, 
history  of  mus.,  and  mus.  articles  in 
his  monumental  Dictionnaire  Ency- 
dopedique,  1751-72. 

Alfven  (alf'-ven),  Hugo,  vlt.,  compr.  b. 
Stockholm,  1872.  Pupil  at  Stock- 
holm Cons.;  under  government  aid, 
studied  with  Ce"sar  Thomson,  at 
Brussels.  Composed  2  symphonies, 
choral  works,  songs,  etc. 

Alkan  (al'-kon),  [pseud,  of  Charles 
Henri  Valentin  Morhange],  pst., 
compr.  b.  Paris,  Nov.  30,  1813;  d. 
there,  Mar.  29,  1888.  Pupil  at  Paris 
Cons,  of  Zimmermann  1819-1830, 
winning  many  prizes;  pf.  teacher  in 
Paris  after  1833.  Published  2  con- 
certos, several  sonatas  and  other  pf. 
pieces,  among  them  eludes  of  amaz- 
ing technical  difficulty. 

Allegri  (al-la'-gre),  Gregorio,  compr.  b. 
Rome,  1584;  d.  there,  Feb.  18,  1652. 
Pupil  of  Nanini,  member  of  Papal 
Choir,  composed  Miserere  in  9  parts, 
which  was  performed  annually  at 
Sistine  Chapel,  (written  down  from 
memory  by  Mozart  in  1770). 


ALYPIOS 

Allen,  Charles  N.,  vlt.  b.  York,  Eng., 
1837;  d.  Boston,  April  7,  1903. 
Studied  under  Saenger  in  Paris;  first 
vlt.  Paris  Grand  Ope>a;  in  Boston 
after  1871;  organized  Beethoven 
Club;  joined  Mendelssohn  Quin- 
tet, 1877;  member  of  Philharmonic 
Orch.  Bost.,  of  Harvard  Mus.  Ass'n, 
Boston  Symph.  Orch.  H.  K.  Hadley 
among  pupils. 

Allitsen,  Frances,  compr.  Gained  schol- 
arship at  Guildhall  School  of  Mus., 
studied  there  under  Gadsby,  win- 
ning prize  for  orchestral  composi- 
tion; d6but  as  concert  singer,  Lon- 
don, 1882;  since  failure  of  voice 
has  composed  exclusively;  published 
many  charming  songs,  of  great  vari- 
ety of  subjects. 

Almenrader  (al-men-ra'-der),  Karl,  bas- 
soon virtuoso,  b.  Ronsdorf,  near 
Diisseldorf,  Oct.  3,  1786;  d.  Bie- 
brich,  Sept.  14,  1843.  Self-taught; 
prof,  at  Cologne  Mus.  Sch.;  mem- 
ber of  orchestras  at  Frankfort  and 
Biebrich;  made  improvements  in  his 
instrument,  wrote  treatise  on  it  and 
method  and  mus.  for  it. 

Alpheraky  (al-fe-ra'-ky),  Achilles  N., 
compr.  b.  Charkov,  1846.  Com- 
posed charming  pf.  mus.,  mazurkas 
and  characteristic  oriental  pieces, 
and  more  than  a  hundred  songs. 

Alvarez  (al'-va-reth),  [pseud,  of  Albert 
Raymond  Gourron],  dram,  tenor,  b. 
Bordeaux,  France.  After  military 
service  as  bandmaster,  studied,  at  22, 
with  A.  de  Martini  in  Paris;  debut  in 
Paris,  1892;  first  London  appearance, 
1893;  first  American  appearance, 
Boston,  Feb.  7,  1899;  later  at  Paris 
Ope'ra,  where  he  has  created  many 
roles. 

Alvary  (al-va'-ry),  Max  [pseud,  of  M.  A. 
Aschenbach],  dram,  tenor,  b.  Diissel- 
dorf, May  3,  1858;  d.  Datenberg, 
Thuringia,  Nov.  7,  1898.  Son  of 
celebrated  painter;  pupil  of  Stock- 
hausen;  d6but,  Weimar,  1881;  great 
success,  especially  in  Wagner  roles; 
member  Metropolitan  Opera,  N.  Y. 
1884-1889,  1891. 

Alypios  (a-lip'-ios),  Greek  writer,  about 
360  A.  D.  Chief  source  of  informa- 
tion about  vocal  and  instrumental 
notation  of  Greek  scales. 


AMATI 

Amati  (a-ma'-ti),  celebrated  family  of 
violin-makers,  founders  of  Cremona 
School.  As  a  whole,  their  violins 
mark  advance  on  the  Brescia  School 
in  beauty  of  shape  and  delicacy  of 
tone.  Andrea  (abt.  1530- Apr.  10, 
1611),  eldest,  pupil  of  Brescia  mak- 
ers, originated  improvements  on 
their  work;  very  few  of  his  violins 
are  extant;  they  are  small,  graceful, 
clear  in  tone  but  not  strong.  His 
brother  Nicolo  (fl.  1568-1635)  made 
basses  chiefly.  .Andrea's  sons,  An- 
tonio (1550-1638)  and  Geronimo 
(1551-1635),  improved  on  their  fa- 
ther's work;  Geronimo  especially 
seems  to  have  designed  his  violins 
with  particular  care  for  geometrical 
accuracy  and  graceful  beauty;  they 
are  sometimes  larger  than  his  father's 
and  have  a  similarly  sweet  tone.  His 
son,  Nicolo,  b.  Sept.  3,  1596;  d.  Aug. 
12,  1684,  most  famous  even  in  his 
own  day,  increased  still  further  the 
grace  of  outline  and  added  the  needed 
power  and  intensity  of  tone;  he 
made,  also,  some  violins  on  a  larger 
model  (known  as  grand  Amatis)  and 
beautiful  tenors  and  'cellos.  Though 
his  son  Geronimo  (1649-1740)  was 
an  inferior  maker,  Nicole's  work  was 
carried  on  to  perfection  by  his  pupils 
Andrea  Guarnerius  and  Antonio 
Stradivarius. 

Ambros  (am'-bros),  August  Wilhelm, 
historian,  b.  Mauth,  near  Prague, 
Nov.  17,  1816;  d.  Vienna,  June  28, 
1876.  Nephew  of  Kiesewetter;  stud- 
ied law  and  entered  government  ser- 
vice; wrote  pamphlet  on  aesthetics 
and  history  of  music  from  begin- 
nings to  time  of  Palestrina,  a  remark- 
ably accurate  and  authoritative 
work,  unfortunately  unfinished  at 
his  death;  prof.  Prague  and  Vienna 
Cons.;  composed  some  music. 

Ambrose,  Saint,  b.  Treves,  333;  d. 
Milan,  Apr.  4,  397.  Bishop  of  Milan 
from  374;  arranged  revised  mode  of 
singing  service  for  Milan  Cathedral 
about  384;  had  much  influence  in 
development  of  orderly  ritual  in 
Western  Church;  introduced  antiph- 
onal  singing  and  established  a  plain- 
chant,  which  cannot  now  easily  be 
distinguished  from  Gregorian;  wrote 
many  beautiful  rhythmical  hymns, 
but  not  the  Te  Deum  to  which  his 
name  is  often  attached. 


ANSCHttTZ 

Amiot  (a'-mi-6),  writer,  b.  Toulon, 
1718;  d.  Pekin,  1794.  Jesuit  priest, 
missionary  to  China.  Translated 
and  wrote  works  on  Chinese  music. 

Anderton,  Thomas,  compr.  b.  Bir- 
mingham, Apr.  15,  1836;  d.  Edg- 
baston,  Sept.  18,  1903.  Teacher  of 
mus.;  conducted  singing  classes  and 
orchestral  concerts;  1874  became 
editor  of  paper,  gave  mus.  lectures, 
wrote  cantatas,  John  Gilpin's  Ride, 
Wreck  of  the  Hesperus,  etc.,  and 

.    songs. 

Anerio  (a-na'-rio),  Felice  (fe-le'-che), 
compr.  b.  Rome,  abt.  1560;  d.  there, 
abt.  1630.  Pupil  of  Nanini;  suc- 
ceeded Palestrina  as  compr.  to  Papal 
Chapel,  1594;  composed  masses, 
motets,  madrigals,  etc. 

Anger,  Joseph  Humfrey,  orgt.,  compr. 
b.  Ashbury,  Eng.,  1862.  Mus.  train- 
ing under  private  teachers;  Mus.  Bac. 
Oxford  1889;  orgt.  Bristol,  1891  at 
Ludlow,  and  musicmaster  in  King 
Edward  VI  School  there;  1893  head 
of  theory  dept.  Toronto  Cons.,  orgt. 
Ch.  of  the  Ascension;  works  include 
Psalm  96,  madrigals,  pf .  pieces;  auth- 
or of  Treatise  on  Harmony. 

Anglebert  (ongle'-bar'),  Jean  Baptiste 
Henri  d',  clavecinist,  compr.  b.  abt. 
1628;  d.  Paris,  Apr.  23,  1691.  Pupil 
of  Champion;  chamber  musician  to 
Louis  XIV;  1689  published  Pieces 
de  Clavecin,  collection  of  contempo- 
rary airs  for  harpsichord  and  org., 
with  preface  which  gives  valuable  in- 
formation about  playing  ornaments 
of  the  time. 

Animuccia  (a-ni-mo-che'-a),  Giovanni, 
compr.  b.  Florence,  abt.  1500;  d. 
Rome,  1571.  Pupil  of  Goudimel; 
predecessor  of  Palestrina  at  the  Vati- 
can and  also  in  the  movement  to- 
ward greater  clearness  in  music ;  from 
Laudi,  hymns  of  praise  which  he 
composed  for  Oratorio  of  St.  Philip 
Neri,  modern  oratorio  takes  its 
name,  and  A.  gets  title  "  Father  of 
Oratorio." 

Anschiitz  (an'-shiitz),  Karl,  condr.  b. 
Koblenz,  Feb.,  1815;  d.  New  York, 
Dec.  30,  1870.  Son  of  Johann 
Andreas  (1772-1856,  pst.,  condr., 
compr.);  pupil  of  Friedr.  Schneider; 
director  of  school  founded  by  father; 


ANSORGE 


ARENS 


conducted  in  London  and  New  York 
where  he  made  an  attempt  at  Ger- 
man opera  in  1862. 

Ansorge  (an'-sor-ge),  Konrad  Eduard 
Reinhold,  pst.  b.  Buchwald,  Silesia, 
Oct.  15,  1862.  Pupil  at  Leip.  Cons.; 
of  Liszt,  1885;  many  successful 
tours  in  Eastern  Europe  and  Amer- 
ica; teacher  in  Klindworth-Schar- 
wenka  Cons,  in  Berlin;  comp.  pf. 
pieces. 

Antipov  (an-te-poff'),  Constantino,  com- 
pr.  b.  Jan.  18,  1859. 

Aprile  (a-pre-le),  Giuseppe,  contralto,  b. 
Bisceglia,  Apulia,  Oct.  29,  1738;  d. 
Martina,  1814.  Pupil  of  Avos;  sang 
in  principal  theatres  of  Germany  and 
Italy  after  1763;  taught  singing  in 
Naples,  Cimarosa  among  pupils; 
composed  songs,  and  a  method,  with 
solfeggi,  still  valued. 

Apthorp,  William  Foster,  critic,  b. 
Boston,  Mass.,  Oct.  24,  1848.  Pupil 
of  J.  K.  Paine  at  Harvard,  and  of  B.  J. 
Lang;  taught  pf.  and  harmony; 
wrote  dramatic  and  mus.  criticisms 
for  several  magazines  and  papers, 
especially  Boston  Transcript  (1881- 
1903);  edited  program-books  of 
Bost.  Symph.  Orch.  1892-1903;  pub- 
lished essays,  translations,  etc.; 
removed  to  Europe  1903.  He  con- 
tributed much  by  pleasant  and  witty 
writings  to  the  development  of  mus. 
interest  and  mus.  culture  in  Boston. 
Wrote  Hector  Berlioz,  Autobiography 
and  Musical  Grotesques,  Musicians 
and  Music  Lovers,  By  the  Way,  The 
Opera,  Past  and  Present,  etc. 

Aptommas,  John,  harpist,  b.  Brid^- 
end,  Eng.,  1826.  Thomas,  his 
brother,  also  harpist,  b.  Bridgend, 
1829;  in  N.  Y.  1851-56.  Both 
remarkable  players  and  teachers; 
composed  for  harp;  wrote  history 
of  the  harp. 

Arban  (ar'-bon),  Joseph  Jean  Baptist e 
Laurent,  cornet  player,  b.  Lyons, 
Feb.  28,  1825;  d.  Paris,  Apr.  9, 
1889.  Teacher  at  Paris  Cons.  1869- 
1874;  inventor  of  several  wind 
instruments;  wrote  method  and 
arrangements. 

Arbuckle,  Matthew,  cornet  player,  b. 
1828;  d.  New  York,  May  23,  1883. 
Came  to  America  about  1853;  leader 


of  military  bands  in  Troy  and  Wor- 
cester; went  to  front  with  24th 
Mass.;  asst.  of  P.  S.  Gilmore  in 
concerts  and  in  Peace  Jubilee;  band- 
master in  N.  Y. 

Arcadelt,  Jacob,  compr.  b.  Nether- 
lands, abt.  1514;  d.  Paris,  between 
1570  and  1575.  One  of  the  Nether- 
land  musicians  who  taught  in  Italy; 
singingmaster  at  St.  Peter's,  1539; 
member  of  Papal  Choir,  1540-1549; 
went  to  Paris  with  Duke  of  Guise, 
1555;  published  while  in  Italy  five 
books  of  madrigals  on  which  fame 
chiefly  rests;  in  Paris  composed 
masses  and  church  music;  well- 
known  Ave  Maria  attributed  to 
him,  probably  not  correctly. 

Archer,  Frederick,  orgt.,  condr.  b. 
Oxford,  England,  June  16,  1838;  d. 
Pittsburg,  Oct.  22,  1901.  Taught  by 
his  father;  also  student  in  London 
and  Leipzig;  concert  orgt.  and  con- 
ductor in  London;  orgt.  Brooklyn, 
1881,  and  N.  Y.;  founded  and 
edited  Key- Note,  1885;  conductor 
of  Bost.  Oratorio  Society  1887; 
founder  of  Pittsburg  Orch.  and  con- 
ductor, 1896-1898.  Excellent  orgt., 
composed  method,  works  for  org., 
songs,  etc.;  by  innumerable  concerts 
did  much  to  popularize  good  music, 
both  for  organ  alone  and  for  orch. 

Archytas  (ar-ke'-tas),  mathematician,  fl. 
Tarentum,  abt.  400-365  B.  C.  Dis- 
ciple of  Pythagoras,  probably  first 
to  fix  ratio  of  the  third;  extant 
writings  only  fragmentary. 

Arditi  (ar-de'-ti),  Luigi,  impresario,  b. 
Crescentino,  Piedmont,  Italy,  July 
16,  1822;  d.  Brighton,  England, 
May  1,  1903.  Studied  at  Milan 
Cons.;  at  first  violin  player;  com- 
posed overture  and  opera,  1841, 1842; 
debut  as  director  of  opera,  1843; 
went  to  Havana,  1846;  brought 
Havana  Opera  Co.  in  1847-50  to 
N.  Y.  and  other  Am.  cities,  con- 
tributing much  to  early  growth  of 
interest  in  opera;  after  1858,  con- 
ducted in  London  and  toured  with 
many  companies  in  many  capitals. 
Composed  vocal  and  pf.  pieces;  II 
Bacio,  waltz-song, universally  known. 

Arens  (ar-enz),  Franz  Xavier,  condr.  b. 
Neef,  Prussia,  Oct.  28,  1856.  Came 
to  America  at  11  as  immigrant;  in 
midst  of  hard  work  studied  mus. 


ARENSKY 


ARNE 


with  his  father  and  Singenberger 
in  Milwaukee;  then  with  Rhein- 
berger,  Wiillner,  and  others  in  Ger- 
many; conducted  in  Cleveland  and 
Indianapolis;  vocal  teacher  in  N.  Y. 
since  1896;  founded  (1900)  People's 
Symph.  Concerts,  a  successful  at- 
tempt to  give  good  orch.  concerts, 
with  simple  instruction,  at  low  rates. 

Arensky  (a-re"n-ski),  Anton  Stepano- 
vitch,  compr.  b.  Novgorod,  July  30, 
1862;  d.  Terioki,  Finland,  Feb.  25, 
1906.  Son  of  a  physician;  pupil  of 
Johannsen  and  Rimsky-Korsakov  at 
St.  Petersburg  Cons.;  prof,  of 
harmony  and  comp.  Imperial  Cons. 
Moscow  1883;  member  of  Council  of 
Synodal  School  of  Church  Mus.; 
conductor,  succeeding  Balakirev,  of 
Imperial  Court  Choir,  1895-1901; 
instructor  at  St.  Petersburg  Cons. 
Composed  3  operas,  cantatas,  songs, 
2  symphonies,  chamber  music  (pf. 
trio  especially  well-known).  Supe- 
riority appears  chiefly  in  chamber 
mus.  and  songs;  operatic  style  is 
said  to  be  a  compromise  between 
declamatory  and  melodic;  church 
mus.  rather  florid;  often  made 
effective  use  of  folk-tunes. 

Ariosti  (a-ri-os'-te),  Attilio,  compr.  b. 
Bologna,  1660;  d.  there,  abt.  1740. 
Composed  opefa  Dafne,  1686,  at 
Venice;  conducted  court  theatre, 
Berlin;  went  to  London,  1716;  wrote 
Muzio  Scevola  with  Bononcini  and 
Handel;  outshone  by  Handel,  was 
honorably  dismissed  from  Italian 
opera,  1727,  and  withdrew  to  Italy. 
Composed  15  operas,  2  oratorios,  and 
possibly  volume  of  cantatas. 

Aristides  (ar-is-ti-des),  Quintilianus, 
writer,  fl.  Greece,  abt.  A.  D.  160. 
One  of  most  satisfactory  writers  on 
Greek  music;  author  of  treatise  in 
three  books  in  which  the  theory  of 
the  Aristoxenean  School  is  presented 
in  detail. 

Aristox'enos,  writer,  b.  Tarentum,  abt. 
354  B.  C.  To  him  we  owe  almost 
entirely  our  knowledge  of  ancient 
Greek  music.  He  came  in  con- 
tact with  Socrates,  was  pupil  of 
Xenophilus,  the  Pythagorean,  and  of 
Aristotle.  "His  services  to  music 
consisted  in,  firstly,  the  accurate  de- 
termination of  the  scope  of  musical 
science  lest  it  should  on  the  one  hand 


degenerate  into  empiricism  or  on 
the  other  hand  lose  itself  in  mathe- 
matical physics;  and,  secondly,  in 
the  application  to  all  the  questions 
and  problems  of  music  of  a  deeper 
and  truer  conception  of  the  ultimate 
nature  of  music  itself.  By  these 
two  discoveries  he  accomplished  a 
revolution  in  the  philosophy  of  the 
art."  (H.  S.  Macran.  The  Harmon- 
ics of  A.,  Oxford,  1902.) 

Armes,  Philip,  orgt.  b.  Norwich,  Aug. 
15,  1836;  d.  Durham,  Feb.  10,  1908. 
Son  of  a  singer,  chorister  at  Norwich 
and  Rochester  Cathedrals;  asst. 
orgt.  at  latter  under  J.  L.  Hopkins; 
orgt.  at  Chichester  and  Durham; 
introd.  mus.  at  Univ.  of  Durham 
and  was  professor  there;  composed 
3  oratorios,  services,  etc. 

Armstrong,  Nellie,  see  Melba. 

Armstrong,  William  Dawson,  teacher, 
compr.  b.  Alton,  111..  Feb.  11, 
1868.  Studied  under  Clarence  Eddy, 
G.  M.  Garrett,  Chas.  Kunkel,  E.  R. 
Kroeger,  and  others;  has  held  vari- 
ous positions  as  orgt.  and  teacher 
in  St.  Louis  and  Alton;  composed 
a  large  number  of  works  in  nearly 
all  forms,  orchestra  works  in  MS., 
and  2  operas,  The  Specter  Bride- 
groom (presented  in  St.  Louis)  and 
Claudia. 

Arnaud  (ar-no),  Abbe  Francois,  theor- 
ist, b.  Aubignan,  July  27,  1721;  d. 
Paris,  Dec.  2,  1784.  Wrote  essays 
on  various  subjects,  ardently  sup- 
ported Gluck  in  partisan  war  about 
his  reforms. 

Arne  (arn),  Thomas  Augustine,  compr. 
b.  London,  Mar.  12,  1710;  d.  there, 
Mar.  5,  1778.  Learned  to  play 
harpsichord  and  vln.  by  secret  prac- 
tise; having  gained  father's  consent, 
he  began  open  career  by  setting  to 
mus.  Addison's  Rosamund;  married 
Cecilia  Young,  favorite  opera  singer, 
1736;  set  to  music  Comus,  As  You 
Like  It,  Tempest,  adapted  for 
English  use  Metastasio's  Artaserse; 
composed  and  arranged  in  all  music 
for  about  50  pieces.  Chiefly  distin- 
guished for  many  charming  songs, 
notably  the  Shakespearean  lyrics 
and  Rule  Britannia  (the  Finale  of 
Alfred,  1740).  His  sister,  Susanna 
Maria,  afterwards  Mrs.  Gibber,  was  a 


ARNOLD 


ATTENHOFER 


famous  actress.  His  son,  Michael 
(1741-1786),  was  also  a  composer  of 
dramatic  music  and  songs. 

Arnold,  Samuel,  compr.  b.  London, 
Aug.  10,  1740;  d.  there,  Oct.  22,  1802. 
Educated  as  chorister  under  Gates 
and  Nares;  remarkable  early  talent 
for  composition;  wrote  about  40 
operas,  oratorios,  etc.;  most  impor- 
tant work  editing  Cathedral  Music, 
collection  of  services  by  English 
composers. 

Arnoldson,  Sigrid  (seegree),  dram.  sop. 
b.  Stockholm,  Mar.  20, 1863.  Daugh- 
ter of  Oscar  A.  tenor  (1843-1881); 
pupil  of  M.  Strakosch;  de"but,  1886, 
Moscow;  prima  donna  in  St.  Peters- 
burg, London  (as  successor  of  Patti, 
1888),  Paris,  Budapest,  and  the 
Netherlands,  New  York,  1893;  then 
in  Paris. 

Artchibousheff  (ar-chib'-oo-shoff),  Nich- 
olas Vassilievitch,  pst.,  compr.  b. 
Tsarskoye-Selo,  Mar.  7,  1858.  Law- 
yer as  well  as  musician;  studied  with 
Soloviev  and  Rimsky-Korsakov. 

Arthur,  Alfred,  singing  teacher,  b. 
Pittsburg,  Oct.  8,  1844.  Pupil  in 
Mus.  School,  Boston,  of  Baker, 
Arbuckle,  etc.,  at  Bost.  Cons,  of 
Eichberg;  choirmaster,  conductor  of 
Vocal  Society,  director  of  school  of 
music  in  Cleveland;  composed  3 
operas,  vocal  studies,  etc. 

Artot  (ar'-to),  Marguerite  Josephine 
Desiree  Montagney,  dram.  sop.  b. 
Paris,  July  31,  1835;  d.  Berlin,  Apr. 
3,  1907.  Daughter  of  Jean  Desire 
Montagney  (Sept.  23,  1803-Mar.  25, 
1887),  who  was  also  called  Artot,  as 
were  his  brother,  Alexandre  (1815- 
1845),  and  their  father,  Maurice 
(1772-1829),  all  musicians.  Mar- 
guerite was  pupil  of  Mme.  Viardot- 
Garcia;  concert  d^but  Brussels,  1857; 
opera  de"but,  Paris,  1858,  where  she 
was  engaged  at  Meyerbeer's  request; 
toured  as  star  throughout  Europe, 
especially  successful  in  Italian  opera. 
Her  voice  from  mezzo  soprano  be- 
came after  persistent  practise  of 
high  enough  register  for  the  great 
soprano  parts. 

Asancheyski  (az-an-choff'-ski),  Michael 
Paulovitch  von,  compr.  b.  Moscow, 
1838;  d.  there,  Jan.  24, 1881.  Studied 


composition  at  Leipzig  under  Haupt- 
mann  and  Richter  and  piano  at 
Rome  with  Liszt;  lived  in  Paris, 
1866-70;  director  1871-76  St.  Peters- 
burg Cons,  to  which  he  gave  valu- 
able library;  retired  1876;  published 
sonata  for  pf.  and  'cello,  trio,  etc. 

Ascher  (ash'-er),  Joseph,  compr.  b. 
Groningen,  Holland,  June  24,  1829; 
d.  London,  June  4,  1869.  Pupil  of 
Moscheles;  court  pianist  to  Empress 
Eugenie;  fashionable  pianist  and 
composer  of  drawing-room  pieces 
which  were  extremely  popular,  es- 
pecially song  Alice,  Where  Art  Thou  ? 

Ashton,  Algernon  Bennet  Langton,  pst, 
compr.  b.  Durham,  Eng.,  Dec.  9, 
1859.  Pupil  1875-79  at  Leipzig 
Cons,  of  Jadassohn  and  Reinecke 
and  at  Frankfort,  1880-81,  of  Raff; 
prof.  Royal  Coll.  Mus.,  London,  1885; 
has  written  mus.  of  almost  every 
kind. 

Asioli  (a-se'-6-li),  Bonifacio,  compr.  b. 
Correggio,  Aug.  30,  1769;  d.  there, 
May  18,  1832.  Of  inconceivable 
precocity  in  composition;  took  les- 
sons of  Morigi  at  Parma;  lived  in 
various  Italian  cities;  prof,  of  coun- 
terpoint and  censor  at  new  Milan 
Cons.  1808;  composed  7  operas, 
masses,  songs,  symph.,  etc.;  wrote 
also  several  remarkably  accurate 
and  clear  text-books  on  harmony 
and  counterpoint.  Biog.  by  Conti. 

Astorga  (as-tor'-ga),  Emanuele,  Baron 
d',  compr.  b.  Palermo,  Dec.  11, 
1681;  d.  Prague,  Aug.  21,  1736.  Son 
of  insurgent  Sicilian  nobleman  who 
was  executed  in  1701;  pupil  of  F. 
.  Scarlatti  and  further  trained  in 
music,  by  the  assistance  of  a  powerful 
patroness,  at  monastery  in  Astorga, 
Spain,  whence  he  obtained  title;  led 
a  life  of  romantic  adventure  in  courts 
of  Parma,  Vienna,  and  Spain;  com- 
posed opera  Dafne,  famous  Stabat 
Mater  for  4  voices,  and  many  beau- 
tiful cantatas. 

Attenhofer  (a-ten-ho'-fer),  Karl,  teacher, 
condr.  b.  Wettingen,  Switzerland, 
May  5,  1837.  Pupil  of  D.  Elster, 
and  of  Richter  and  others,  at  Leipzig 
Cons.;  condr.  of  various  choral 
unions;  composer  of  choral  music, 
songs,  etc. 


ATTWOOD 


AVISON 


Attwood,  Thomas,  compr.  b.  London, 
Nov.  23,  1765;  d.  Chelsea,  Mar.  24, 
1838.  Chorister  under  Nares  and 
Ayrton;  studied  in  Italy  (by  assist- 
ance from  George  IV,  then  Prince  of 
Wales)  under  Cinque  and  Latilla 
and  in  Vienna  under  Mozart;  orgt. 
at  St.  Paul's  and  Chapel  Royal;  orig- 
inal member  Philharm.  Soc.;  friend 
of  Mendelssohn.  Composed  music 
for  21  plays,  famous  church  music, 
numerous  popular  songs  and  glees. 

Auber  (6-bar'),  Daniel  Frangois  Esprit, 

compr.  b.  Caen,  Jan.  29,  1782;  d. 
Paris,  May  12,  1871.  Son  of  a 
painter  who  had  gone  into  trade 
after  the  Revolution,  he  refused  to 
follow  any  line  but  that  of  his  talent. 
His  first  dramatic  music,  resetting 
of  Julie,  attracted  attention  of  Cher- 
ubini  who  assisted  his  further  de- 
velopment. First  opera  to  gain 
public  performance  was  Le  Sejour 
d' Amour,  1813,  but  success  was  first 
won  by  La  Bergere  Chatelaine,  J820. 
Increasing  skill  in  clever  treatment 
of  light  comic  opera  style  is  shown 
in  series  ending  with  Le  Mafon,  1825. 
With  first  grand  opera  La  Muette  de 
Portici  (Masaniello),  1825,  he  at- 
tained greatest  height;  in  this  work, 
says  Apthorp,  he  brought  all  the 
brisk,  nimble  dash  of  his  style  to 
bear  on  a  tragic  subject.  He  outdid 
himself,  showing  unwonted  dramatic 
fire,  picturesqueness  in  orchestra- 
tion, skilful  handling  of  choral 
masses.  The  old  forms  are  there, 
but  managed  with  dramatic  ap- 
positeness.  This  opera,  with  Ros- 
sini's William  Tell  and  Meyerbeer's 
Robert  le  Diable,  changed  the  r£per- 
toire  of  the  Paris  Ope>a;  the  produc- 
tion in  Brussels  was  the  signal  for 
revolutionary  riots  which  ended  in 
separation  of  Holland  and  Belgium. 
Most  popular  opera  at  home  and 
abroad  was  Fra  Diavolo,  1830.  For 
many  years  A.  composed  about  one 
opera  a  year,  most  frequently  to 
libretti  by  Scribe,  sustaining  his 
powers  at  a  remarkable  level  of 
graceful  tunefulness  and  polish.  He 
succeeded  to  Gossec's  chair  in  the 
Academy,  1835;  followed  Cherubini 
as  director  of  Cons.  1842. 

Audran  (6-dron),  Edmond,  compr.  b. 
Lyons,  April  11,  1842;  d.  Tierceville, 


Aug.  17,  1901.  Son  of  Marius  Pierre, 
operatic  tenor  and  song  composer 
(1816-1887);  pupil  at  Ecole  Nieder- 
meyer,  Paris,  with  prize  for  com- 
position; orgt.  at  Marseilles,  1861; 
composed  a  mass,  motet  and  songs, 
but  is  known  as  composer  of  many 
successful  examples  of  ope>a-bouffe, 
37  in  all,  of  which  the  best  known  to 
Americans  are  Olivette  and  La  Mas- 
cotte;  Le  Grand  Mogol,  Les  Noces 
d'  Olivette,  La  Cigale  et  la  Fourrni, 
Miss  Helyett,  and  La  Poupee  were 
especially  popular  both  in  French 
and  English  versions. 

Auer  (ou'-er),  Leopold,  vlt.  b.  Veszprim, 
Hungary,  May  28,  1845.  Pupil  at 
the  Prague  and  Vienna  Cons.;  of  Joa- 
chim, 1863-65;  conductor  in  Dussel- 
dorf  and  Hamburg  1863-67;  since 
1868  at  St.  Petersburg  as  solo  vio- 
linist to  the  court,  prof,  at  Cons, 
and  occasional  conductor  of  Im- 
perial Mus.  Assn.  Exceptionally 
fine  violinist,  with  noble  style  and 
extended  repertoire;  teacher  of  Mis- 
cha  Elman;  Tchaikovski's  concerto 
dedicated  to  him. 

Augustine,  Saint,  writer,  b.  Tagaste, 
Numidia,  Nov.  13,  354;  d.  Hippo, 
Algeria,  Aug.  28,  430.  Bishop  of 
Hippo,  one  of  the  fathers  of  the 
Latin  Church,  friend  of  St.  Ambrose. 
His  writings  give  valuable  informa- 
tion about  the  condition  of  music 
in  the  early  church  and  especially 
about  Ambrosian  chant;  his  work  en- 
titled De  Musica  treats  of  rhythms 
only. 

Aulin  (ou-lin),  TorJ  vlt.  b.  Stockholm, 
Sept.  10, 1866.  Pupil  of  Emile  Sauret 
and  Ph.  Scharwenka  in  Berlin;  since 
1889  concertmaster  Royal  Opera, 
Stockholm;  founded  famous  Aulin 
Quartet,  1887;  distinguished  virtuoso. 

Aus  der  Ohe  (ous'-der-o-e),  Addle,  pst. 
Father  professor  in  Hanover  Univ.; 
pupil  under  Kullak  at  age  of  7  by 
advice  of  Von  Billow;  played  with 
orch.  in  Berlin  at  age  of  10;  pupil  of 
Liszt  from  12  to  19;  American  d£but, 
1886.  Successful  career  as  concert 
pianist  of  unusual  strength  and 
power. 

Avison, Charles,  compr., writer,  b.  New- 
castle-upon-Tyne,1710;  d.  there,  May 
9, 1770.  Pupil  of  Geminiani,  organist 


AYLWARD 


BACH 


in  Newcastle,  1736;  composer  of 
instrumental  music,  concertos  and 
sonatas;  author  of  Essay  on  Musical 
Expression,  1752,  pamphlet  which  was 
strongly  and  successfully  assailed  by 
W.  Hayes;  edited  Marcello's  Psalms 
with  English  words.  Mentioned  in 
Browning's  Parleyings. 


Aylward  (al'ward),  Theodore,  compr.  b. 
about  1730;  d.  London,  Feb.  27, 
1801.  Organist  in  London;  prof,  in 
Gresham  College,  1771;  asst.  director 
of  Handel  Commemoration,  1784. 
Composed  g^ees  and  catches  very 
popular  in  his  day,  and  some  unpub- 
lished church  music. 


Bach  (bak).  Distinguished  family  of 
musicians  bearing  this  name  were 
descended  from  Hans  Bach  who  lived 
at  Wechmar  about  1561;  his  son, 
Veit  (d.  1619),  was  fond  of  music  and 
Veit's  son,  Hans  (b.  about  1580;  d. 
Dec.  26,  1626),  was  a  professional 
musician,  the  real  founder  of  the 
family.  The  sons  of  Hans  settled  in 
different  towns,  Johannes  (1604- 
73)  in  Erfurt,  Heinrich  (1615-92) 
in  Arnstadt,  and  Christoph  (1613- 
61)  at  first  in  Erfurt,  and  later  in 
Arnstadt.  Almost  all  the  members 
of  the  family  were  musicians;  even 
those  who  at  first  turned  to  law  or 
some  other  study  end.ed  their  lives 
in  musical  service;  some  were  vio- 
linists, more  were  organists,  two  at 
least,  Johann  Michael  (1648-1694) 
and  his  nephew,  Johann  Nikolaus 
(1669-1753),  experimented  in  instru- 
ment making  and  made  improve- 
ments in  pianoforte  construction; 
almost  all  of  them  were,  to  a  greater 
or  less  extent,  composers.  In  private 
life  the  family  seems  to  have  been 
characterized  by  devotion  to  a  high 
standard  of  moral  purity  and  quiet 
dignity — an  attitude  maintained 
with  remarkable  consistency.  This 
mood  found  most  frequent  expres- 
sion in  the  composition  of  church 
music  of  a  lofty  elevation  and  of 
organ  and  piano  music  of  conspicu- 
ous clearness  and  intellectual  inge- 
nuity. For  detailed  accounts  of  all 
the  Bachs,  see  Philipp  Spitta's  Johann 
Sebastian  Bach,  3  vols.;  Grove's 
Dictionary,  Vol.  I;  Eitner's  Quellen- 
Lexikon.  The  most  noted  will  be 
mentioned  here  in  alphabetical  order. 

Bach,  Johann  Christian.  There  were 
two  of  this  name  of  whom  the  earlier 
(1640-1692)  was  the  son  of  Johannes 
in  Erfurt.  The  later,  b.  Leipzig, 
1735;  d.  London,  Jan.  1,  1782,  was 


known  as  the  Milanese  or  English 
Bach.  He  was  eleventh  son  of  Joh. 
Sebastian;  after  his  father's  death 
he  lived  with  brother  Karl  Philipp 
Emanuel  in  Berlin,  studying  piano 
playing  and  composition.  He  went 
to  Milan,  became  pupil  of  Martini 
and  was  organist  at  the  Cathedral 
there  1760-1762;  in  Italy  he  com- 
posed sacred  music  and  some  operas. 
In  1762  he  went  to  London,  where 
he  gave  subscription  concerts  in 
partnership  with  Abel,  1765-1782; 
married  Cecilia  Grassi,  the  singer; 
composed  several  successful  operas 
in  light  Italian  style,  and  elegant, 
brilliant  pianoforte  works. 

Bach,  Johann  Christoph.  There  were 
several  of  this  name:  One  (1645- 
1693)  was  son  of  Christoph  and 
twin  brother  of  Joh.  Ambrosius,  a 
violinist,  who  devoted  himself  with 
his  uncle  Heinrich  to  church  music 
at  Arnstadt.  Another  (1671-1721) 
was  a  brother  of  Joh.  Sebastian,  a 

Sjpil  of  Pachelbel,  and  organist  at 
hrdruf.  Another  (1685-1735)  was 
the  son  of  Joh.  Aegidius  (1645-1717) 
of  Erfurt,  both  directors  of  the  town 
music.  The  most  famous,  b.  Arnstadt, 
Dec.  8,  1642;  d.  Eisenach,  Mar.  31, 
1703,  was  the  son  of  Heinrich  of 
Arnstadt  and  uncle  of  Joh.  Sebastian. 
He  was  the  greatest  of  the  older 
generation,  one  of  the  most  famous 
organ  players  and  contrapuntists  of 
his  day,  and  was  highly  regarded  as 
an  individual  by  all;  as  a  composer 
he  was  neglected  by  contemporaries 
outside  of  his  family,  but  he  is  now 
considered  of  great  importance  for 
his  individuality  in  solving  problems, 
his  high  sense  of  form,  and  depth  of 
expression.  There  are  extant  of  his 
some  instrumental  works  and  9 
motets. 


BACH 


BACH 


Bach,  Johann  Sebastian,  b.  Eisenach, 
Mar.  21  (or  22),  1685;  d.  Leipzig, 
July  28,  1750.  Grandson  of  Chris- 
toph  who  was  town  musician  to 
Count  Schwarzburg  and  prominent 
in  town  music  at  Arnstadt;  son  of 
Job.  Ambrosius  (1645-1695),  violin- 
ist, who  settled  in  Eisenach  in  1671, 
and  of  Elizabeth  Lammerhirt  of 
Erfurt.  At  the  age  of  ten,  both 
parents  having  died,  Seb.  went  to 
Ohrdruf  where  he  lived  and  studied 
with  his  brother  Johann  Christoph; 
this  elder  brother  is  reputed  to  have 
been  harsh,  denying  to  the  eager 
youth  access  to  a  volume  of  music, 
and  taking  away  from  him  a  copy 
which  he  had  made  in  secret  by 
moonlight.  After  the  death  of  this 
brother  Seb.  went  on  his  own 
responsibility  to  Liineberg  where  he 
became  a  chorister  and  received 
free  instruction  in  other  branches; 
he  paid  great  attention  to  the  work 
of  the  organist  Bohm  and  walked 
often  to  Hamburg  to  hear  Reinken; 
he  also  walked  to  Celle  where  he  had 
an  opportunity  to  hear  French  music 
in  the  royal  chapel.  By  similar 
persistence  and  application  he  in- 
creased his  skill  on  the  violin  and 
pianoforte,  as  well  as  in  composition. 
After  a  few  months  at  Weimar,  he 
became  organist  at  Arnstadt  in  1703. 
In  1705,  having  walked  to  Ltibeck 
to  meet  Buxtehude,  he  overstayed 
his  leave  of  absence  in  his  enthusi- 
asm, until  the  church  authorities  at 
Arnstadt  were  angry.  Further  ap- 
pointments followed:  in  1707  he 
was  organist  at  Miihlhausen;  in 
1708  court  organist  at  Weimar,  in 
1714  concertmeister  there;  in  au- 
tumn vacations  he  made  many 
professional  tours  to  other  cities, 
Kassel,  Halle,  and  Dresden  (where 
he  challenged  the  French  organist 
Marchand  who,  at  the  last  moment, 
refused  to  meet  him);  in  1717  he 
was  made  capellmeister  and  director 
of  chamber  music  to  Prince  Leopold 
of  Co  then;  in  1723  he  succeeded 
Kuhnau  as  cantor  at  the  Thomas- 
schule,  Leipzig,  and  became  organist 
at  two  principal  churches  there, 
without  entirely  severing  his  con- 
nection with  Cothen.  He  remained 
at  Leipzig  27  years,  with  frequent 
visits  to  Dresden  and  a  memor- 
able one  to  Potsdam  at  the  request 


of  Frederick  the  Great,  whom  he 
amazed  by  his  skill  in  improvising. 
He  became  blind  in  1749.  His  char- 
acter was  like  that  of  his  family  in 
general,  one  of  conspicuous  upright- 
ness, cheerful  simplicity  and  marked 
singleness  of  purpose.  He  married 
twice:  first,  in  1707,  his  cousin  Maria 
Barbara  Bach,  daughter  of  Johann 
Michael;  and  secondly,  in  1721, 
Anna  Magdalene  Wulken.  His  home 
life  was  always  happy  and  he  took 
pleasure  and  satisfaction  in  the  edu- 
cation of  his  13  children  and  the 
(frequently  musical)  pleasures  of 
his  domestic  circle.  Beside  his  own 
sons  he  had  many  distinguished 
pupils  among  whom  were  Krebs, 
Agricola,  Kirnberger,  Marpurg  and 
Vogler.  Always  eager  to  embrace 
every  opportunity  of  hearing  great 
contemporaries  (he  twice  journeyed 
to  Halle  in  vain  attempts  to  meet 
Handel),  he  was  in  every  way  inde- 
fatigably  industrious.  Before  1717 
he  was  chiefly  occupied  in  writing 
organ  music;  during  the  time  at 
Cothen  he  composed  instrumental 
music,  concertos,  suites,  etc.  and 
the  Wohltemperirtes  Clavier,  1722, 
1724;  the  Inventions  and  Sym- 
phonies for  clavier,  1723;  in  the 
Leipzig  period  he  wrote  almost  all 
of  the  more  than  200  extant  church 
cantatas.  The  St.  John  Passion 
was  performed  in  1724,  the  Matthew 
in  1729,  the  B  minor  Mass  between 
1732  and  1738.  All  of  his  music 
commands  admiration  by  the  dis- 
play of  masterly  contrapuntal  skill, 
by  the  fertility  and  dexterity  of  his 
methods;  but  his  is  more  than  the 
skill  of  the  juggler,  in  that  he  really 
combines  the  different  parts  into 
an  organic  whole  which  has  a  definite 
meaning  of  its  own.  By  the  "  con- 
stant application  of  matchless  tech- 
nic  to  the  highest  artistic  ends," 
he  is  able  to  find  the  "  right  word 
for  every  occasion,"  so  that  he 
completely  satisfies  '  people  of  the 
most  dissimilar  tastes.  The  skill  of 
all  his  successors  rests  on  knowledge 
of  his  works,  and  their  charm  is  still 
inexhaustible.  Historically  also  his 
music  is  of  vast  importance;  he 
settled  the  dispute  between  the  old 
church  modes  and  the  modern  har- 
monic scales;  his  works  represent 


BACH 


BAERMANN 


a  fusion  of  both  systems,  but  the 
modern  one  predominates.  More- 
over he  required  "  equal  tempera- 
ment "  for  instruments  with  fixed 
intonation,  and  had  a  great  influ- 
ence on  the  technic  of  piano 
playing  by  introducing  a  new  system 
of  fingering.  He  was  appreciated 
by  his  contemporaries  as  an  organist 
only;  it  was  not  until  1829  that 
Mendelssohn  drew  general  attention 
to  his  compositions.  The  Bach- 
Gesellschaft,  founded  in  1850  by 
Schumann,  Jahn,  and  others,  issued 
a  definitive  edition  of  his  complete 
works  in  146  volumes. 

Bach,  Karl  Philipp  Emanuel.  b.  Wei- 
mar, Mar.  8,  1714;  d.  Hamburg, 
(Sept.)  Dec.  14,  1788.  Called  the 
Berlin  or  Hamburg  Bach,  son  of  Joh. 
Sebastian.  Studied  law  at  Frank- 
fort and  Leipzig  Universities,  but 
abandoned  it  for  music  in  which  he 
had  been  thoroughly  instructed  by 
his  father.  He  entered  the  service 
of  Frederick  the  Great  in  1738,  and 
continued  therein  until  1767  when 
he  succeeded  Telemann  as  director 
of  church  in  Hamburg.  He  was 
one  of  the  most  brilliant  composers 
of  a  period  which  prized  brilliance 
more  than  profundity.  His  instru- 
mental music  is  especially  valuable 
because  it  shows  the  origin  of  the 
modern  forms  which  Haydn  and 
Mozart  were  to  bring  to  perfection. 
He  composed  a  great  number  of 
works  in  almost  every  form. 

Bach,  Wilhelm  Friedemann.  b.  Wei- 
mar, Nov.  22,  1710;  d.  Berlin, 
July  1,  1784.  The  eldest  and  ap- 
parently the  most  talented  son  of 
Joh.  Sebastian,  trained  by  his  father 
and,  in  violin  playing,  by  Graun. 
He  distinguished  himself  in  mathe- 
matics at  Leipzig  Univ.  and  held 
posts  as  organist  and  musical  director 
at  Dresden  and  Halle.  In  1764  he 
was  dismissed  from  his  post  because 
of  his  dissolute  habits  and  died  in 
want.  He  was  a  brilliant  organ- 
player,  a  profound  theoretician,  a 
famous  improviser,  a  skilful  and 
fluent  composer  and  at  the  same 
time  the  one  black  sheep  of  his 
race.  Most  of  his  compositions 
exist  in  manuscript  only.  (See, 
especially,  Eitner's  Lexikon.) 


Bache,  Francis  Edward,  compr.  b. 
Edgbaston,  Birmingham,  Sept.  14, 
1833;  d.  there,  Aug.  24,  1858. 
Showed  unquestionable  talent  as  a 
child;  studied  under  Bennett  and 
in  Leipzig  under  Hauptmann  and 
Plaidy.  Composed  before  untimely 
death  2  operas,  concerto,  trio,  etc. 
His  brother,  Walter,  pst.  b.  Edg- 
baston, Birmingham,  June  19,  1842; 
d.  London,  Mar.  26,  1888.  Studied 
piano  and  theory  with  Stimpson  and 
with  Plaidy,  Moscheles,  Reinecke, 
and  Richter.  Pupil  in  Rome,  after 
1862,  of  Liszt  of  whom  he  became 
ardent  disciple  and  whose  works  he 
largely  introduced  to  English  public. 
Prof,  of  pf.  at  Royal  Acad.  Mus. 

Bachmann  (bak'-man),  Georges,  compr. 
b.  about  1848;  d.  Paris,  Dec.  (?)  1894. 
Composed  many  light  pf.  pieces. 

Backer-  Grbndahl  (bak'-er-gren-dal'), 
Agathe  Ursula,  pst.,  compr.  b.  Hol- 
mestrand,  Norway,  Dec.  1,  1847;  d. 
Christiania,  Aug.,  1907.  Pupil  of 
Kjerulf  and  Lindemann,  of  Kullak, 
Von  Biilow,  and,  later,  of  Liszt; 
married  1875  O.  A.  Grondahl,  of 
Christiania  (b.  1847),  singing  teach- 
er; has  toured  successfully  in  Scan- 
dinavia, London,  and  Paris.  Com- 
posed charming  songs,  pf .  pieces,  etc. 

Backhaus  (bak-hous),  Wilhelm,  pst. 
b.  Leipzig,  Mar.  26,  1884.  Pupil  of 
A.  Reckendorf  at  Leipzig  Cons,  and 
of  d' Albert;  won  Rubinstein  Prize 
for  pf.  playing,  1905;  prof,  of  pf.  at 
Manchester  (Eng.)  Royal  Coll.  of 
Music;  remarkably  popular  with 
London  audiences,  but  German 
critics  say  that  his  amazing  technical 
ability  is  not  used  for  artistic  ends. 

Badarczevska  (ba-dar-chef'-shka),  Tek- 
la,  compr.  b.  Warsaw,  1838;  d.  there, 
1862.  Composed  "  salon  "  pf.  works, 
popular  in  their  day,  now  practically 
forgotten,  except  La  Priere  d'une 
merge  (The  Maiden's  Prayer). 

Baermann  (bar'-man),  Carl,  pst.  b. 
Munich,  July  9,  1839.  Grandson  of 
Heinrich  Joseph  (1784-1847),  friend 
of  Weber  and  Mendelssohn,  and  son 
of  Karl  (1820-1885),  both  clarinet 
players  of  distinction;  studied  under 
Lachner  and  Liszt;  d6but  at  15; 
teacher  in  Royal  Mus.  Sch.  in 
Munich;  came  to  America  in  1881; 


BAI 


BALAKIREV 


has  attained  high  rank  as  teacher  in 
Boston,  among  pupils  being  C.  H. 
Morse,  Mrs  H.  H.  A.  Beach  and 
F.  S.  Converse;  his  few  published 
works,  mostly  for  pf.,  are  worthy 
expressions  of  his  sound,  conserva- 
tive spirit. 

Bai  [or  Baj],  (ba'-i),  Tommaso,  com- 
pr. b.  Crevalcuore,  about  1650;  d. 
Rome,  Dec.  22,  1714.  Tenor  singer 
and  maestro  in  Vatican  choir;  fol- 
lower of  Palestrina;  composed  Mis- 
erere sung  alternately  with  those  of 
Allegri  and  Baini  in  Holy  Week. 

Bailey,  Lilian,  see  Henschel,  Mrs. 
Georg. 

Bailey,  Marie  Louise,  pst.  b.  Nashville, 
Oct.  24,  1876.  Studied  1889  with 
C.  Reinecke  in  Leipzig  Cons.,  win- 
ning scholarship;  later  with  Leschet- 
izky;  de"but  at  Gewandhaus  1893; 
played  with  Damrosch  orch.,  and 
toured  successfully  in  U.  S.  and 
Canada;  at  present  in  Vienna. 

Baillot  (ba-yo),  Pierre  Marie  Fran$ois 
de  Sales,  vlt.  b.  Passy,  Oct.  1,  1771; 
d.  Paris,  Sept.  15,  1842.  Remark- 
able early  talent;  first  instruction 
from  Italian  Polidori;  in  1780  pupil 
of  Sainte-Marie,  who  insisted  on 
severe  taste  and  exactness;  in  1783 
studied  under  Pollani;  1791  through 
influence  of  Viotti  became  first  violin 
-  at  Th.  Feydeau,  Paris;  1791-1795 
seems  to  have  neglected  music  for 
small  government  appointment;  pro- 
fessor at  new  Cons.  1795;  after 
further  study  with  Catel,  Reicha 
and  Cherubini,  he  made  tour  to 
Russia  and  later  others  to  England, 
Holland,  Switzerland  and  Italy;  in 
1821  leader  of  orch.  at  Grand  OpeYa; 
1825  solo  player  in  royal  band.  He 
had  many  distinguished  pupils, 
notably  Habeneck,  Mazas,  the  two 
Danclas,  etc.  Composed  many 
works,  chiefly  very  difficult  vln. 
pieces,  preludes,  quartets,  etc.;  his 
chief  works  are  L'art  du  Violon 
(1834)  and  Methode  de  Violon,  pub- 
lished jointly  with  Rode  and  Kreut- 
zer,  still  standards. 

Baini  (bae-ni),  Giuseppe,  compr.,  writer, 
b.  Rome,  Oct.  21,  1775;  d.  there, 
May  21,  1844.  Pupil  of  his  uncle 
Lorenzo,  and  of  Jannaconi  whom  he 
succeeded  1817  as  maestro  of  St. 
Peter's;  composed  Miserere  sung  in 


turn  with  those  of  Allegri  and  Bai  at 
Sistine  Chapel.  He  lived  entirely 
in  spirit  of  16th  century  music  and 
his  chief  work  is  life  and  criticism  of 
the  works  of  Palestrina  (1828),  not 
wholly  accurate  by  standards  of 
modern  scholarship. 

Baker,  Benjamin  Franklin,  teacher,  b. 
Wenham,  Mass.,  July  16,  1811;  d. 
Boston,  Mar.  11,  1889.  Sang  in 
churches  in  Salem,  Portland,  and 
Boston;  1841  succeeded  Lowell 
Mason  as  teacher  of  music  in  public 
schools;  was  vice-president  Handel 
and  Haydn  Society;  established 
Boston  Music  School;  edited  Boston 
MusicalJournal;  composed  cantatas, 
part-songs,  etc. 

Balakirev  (ba-la'-ke-reff),  Mili  Alexei- 
evitch,  compr.,  pst.  b.  Novgorod, 
(Dec.  31,  1836,  O.  S.)  Jan.  2,  1837; 
d.  St.  Petersburg,  June  24,  1910. 
Early  youth  passed  in  the  country, 
where  Oulibishev,_ author  of  Life  of 
Mozart,  instructed  him  in  music; 
went  at  age  of  20  to  St.  Petersburg 
where  he  met  Glinka,  and  the 
younger  composers,  Cui,  Mous- 
sorgski,  Borodin  and  others.  B. 
became  the  peculiarly  influential 
center  of  a  small  group,  some  of 
whom  were  older  than  he  in  years, 
to  whom  he  gave  instruction  in 
analysis  of  older  masters  and  counsel 
in  appreciation  of  the  new — espe- 
cially Schumann,  Liszt,  and  Berlioz. 
He  also  exerted  a  great  influence 
toward  "  national  "  music,  by  col- 
lecting folk-songs  and  by  urging 
use  of  characteristic  rhythms  and 
ideas.  In  1863  B.  founded  a  free 
school  of  music;  before  retirement 
in  1872  he  was  director  Russian 
Musical  Society,  and  director  of 
singers  at  Imperial  Chapel.  His 
own  works  are  few  in  number;  the 
principal  ones  are  symph.  poems 
Thamar  and  Russia,  overture  and 
music  to  King  Lear,  symph.  in  C 
major,  two  series  of  songs,  and  pf. 
pieces  nearly  all  of  which  demand 
the  ability  of  a  virtuoso — most  not- 
able being  the  fantasia  Islamey. 
"  His  romances  are  distinguished  by 
pure  and  large  melodies,  by  elegant 
accompaniments,  often  by  passion 
and  great  interest."  [Cui.]  "  He 
is  an  orchestral  magician;  he  suc- 
ceeds, by  harmonious  wedding  of 


BALATKA 


BANTOCK 


timbres,  in  giving  changing  and  sur- 
prising color  to  sound.  He  excels 
in  the  descriptive  poem,  the  instru- 
mental tale."  [Bruneau.]  Though 
he  has  written  nothing  for  the  stage, 
his  most  remarkable  compositions 
are  those  with  a  definite  program, 
as  the  symph.  poems  and  Lear. 

Balatka,  Hans,  condr.  b.  Hoffnungs- 
thal,  Moravia,  March  5,  1827;  d. 
Chicago,  Apr.  17,  1899.  Pupil  of 
Sechter  and  Proch  at  Vienna;  came 
to  America  1849;  founded  and  con- 
ducted Milwaukee  Musikverein, 
conductor  of  Chicago  Philh.  Soc. 
1860,  and  various  societies  in  Mil- 
waukee, St.  Louis  and  Chicago;  dis- 
tinguished among  pioneers  of  music 
in  the  West. 

Baldwin,  Samuel  Atkinson,  orgt.,  compr. 
b.  Lake  City,  Minn.,  Jan.  25, 1862.  At 
12  moved  to  St.  Paul  where  he  was 
orgt.at  15;  studied  in  Europe  1880-84 
(with  one  year  at  home)  at  Dresden 
Cons,  with  G.  Merkel,  Nicode',  Risch- 
bieter,  and  Wullner;  orgt.  Chicago 
1885-89;  orgt.  dir.  of  choral  ass'n, 
St.  Paul  1889-95;  orgt.  in  New  York 
1895,  in  Brooklyn  since  1902;  head 
of  dept.  of  mus.  in  Coll.  of  City  of 
N.  Y.,  1907,  where  he  gives  semi- 
weekly  recitals;  compositions  include 
songs,  anthems,  18th  Psalm  for  voices 
and  orch.,  cantata  Triumph  of  Love, 
concert  overtures,  suite  for  orch., 
and  symphony. 

Balfe,  Michael  William,  compr.  b. 
Dublin,  May  15,  1808;  d.  Rowney 
Abbey,  Hertfordshire,  Oct.  20,  1870. 
Son  of  William  (died  1823),  a  danc- 
ing master;  he  first  learned  to  play 
the  violin  for  dancing  as  a  pupil  of 
Meadows  and  O'Rourke  (Rooke); 
articled  pupil  of  C.  E.  Horn  in 
London;  played  in  theatre  band; 
went  to  Italy  1825  where  he  studied 
with  Paer  and  Federici;  in  Paris 
Rossini  engaged  him  as  baritone  in 
Italian  opera  and  he  sang  in  London 
and  Paris  with  success  until  about 
1833;  after  1835,  he  composed 
operas,  managed,  and  conducted 
them  in  London,  Paris,  and  Berlin; 
retired  to  country  1864.  First 
dramatic  composition  was  ballet  La 
Perouse  1827;  first  English  opera 
Siege  of  Rochelle  1835;  his  suc- 
cesses thereafter  were  almost  con- 
tinuous; he  wrote  about  30  operas,  j 


the  one  most  widely  known  to-day 
being  The  Bohemian  Girl,  first  pro- 
duced 1843.  Macfarren  (quoted  in 
Grove)  says  B.  possessed  quick- 
ness of  ear,  readiness  of  memory, 
executive  facility,  fluent  invention, 
remarkable  and  experienced  com- 
mand of  orchestra,  and,  on  the  other 
hand,  want  of  conscientiousness; 
that  in  his  music,  however,  "  the 
element  which  makes  it  evanescent 
is  that  which  also  makes  it  popular." 

Banister,  John,  vlt.  b.  London,  1630; 
d.  there,  Oct.  3,  1679.  Taught  rudi- 
ments by  his  father,  sent  to  France 
by  Charles  II;  leader  of  the  King's 
band  1662;  first  musician  to  estab- 
lish successful  concerts  in  London, 
holding  them  at  his  own  house  every 
afternoon  1672-1678.  Composed  mu- 
sic to  "  Circe,"  songs,  and  lessons 
for  violin.  Son  John  (1677-1735) 
distinguished  violinist  in  days  of 
first  Italian  operas.  Henry  Charles 
(1831-1897)  successful  teacher  of 
harmony  and  instructive  writer. 

Banti-Giorgi  (ban'-ti-ge-or'-gi),  Brigida, 
dram.  sop.  b.  Crema,  Lombardy, 
1758;  d.  Bologne,  Feb.  18,  1806. 
Discovered  singing  in  street  cafe", 
she  was  engaged  for  Paris  Ope"ra, 
where  she  made  d6but;  1799-1802 
made  great  success  in  London;  Sac- 
chini,  Piozzi,  Abel  all  tried  to  teach 
her  in  vain;  she  remained  to  the  last 
a  natural  singer,  learning  parts  by 
ear,  but  singing  them  with  great 
effect;  favorite  in  England  1789- 
1798,  when  succeeded  by  Mrs. 
Billington.  (See  article  by  C.  Lozzi, 
Rivista  Musicale  Italiana,  1904.) 

Bantock,  Granville,  compr.  b.  London, 
Aug.  7,  1868.  Pupil  of  F.  Corder  at 
Royal  Acad.  of  Music  1889  winning 
Macfarren  Scholarship;  while  still 
a  student  he  had  works  performed; 
editor  of  New  Quarterly  Music 
Review  1893-96;  tour  of  the  world 
as  conductor  of  Gaiety  Th.  Com- 
pany 1894-95;  conductor  of  various 
companies  and  orchestras,  in  New 
Brighton,  near  Liverpool,  where  he 
effected  great  improvements,  at  Ant- 
werp and  Birmingham;  principal 
Sch.  of  Mus.  Birmingham  and  Mid- 
land Institute  since  1900;  succeeded 
Edward  Elgar  as  professor  in  Bir- 
mingham University  1908;  has  al- 
ways shown  himself  hospitable  to 


BARBIERI 


BARNETT 


work  of  young  composers,  and  to 
those  of  British  composers.  His  own 
compositions,  cantatas,  large  choral 
works,  symphonic  poems,  pf.  pieces, 
etc.  are  usually  of  marked  oriental 
coloring  (often  dealing  with  Eastern 
subjects)  and  of  romantic  tone;  he 
combines  a  remarkably  sure  orches- 
tral technic  with  subtlety  of  feel- 
ing for  tone,  color  and  great  poetic 
sensibility  (Newman);  he  prefers  the 
looser  forms  of  program  music. 

Barbieri  (bar-bi-a'-ri),  Francesco  Asen- 
jo,  compr.  b.  Madrid,  Aug.  3,  1823; 
d.  there,  Feb.  17, 1894.  Pupil  Madrid 
Cons.,  clarinetist  in  theatre  orch., 
chprusleader  at  opera;  secretary  and 
chief  director  of  society  for  encourag- 
ing the  Zarzuela,  the  distinctly  na- 
tional Spanish  type  of  operetta,  of 
which  he  wrote  75;  edited  coll.  of 
15th  century  songs;  critic  and 
teacher  at  cons.,  promoter  of  good 
concerts. 

Bardi,  Giovanni,  Count  of  Vernio.  b. 
1534;  d.  1612.  Patron  of  music  in 
Florence  in  16th  century,  at  whose 
house  took  place  the  earliest  per- 
formances of  opera;  may  have  writ- 
ten words  for  some. 

Bargiel  (bar'-gel),  Woldemar,  compr. 
b.  Berlin,  Oct.  3,  1828;  d.  there, 
Feb.  23,  1897.  Son  of  Adolf  (died 
1841)  teacher  of  music  and  of  di- 
vorced wife  of  Fr.  Wieck,  so  he  was 
Clara  Schumann's  step-brother; 
trained  by  parents  and  at  Leipzig 
Cons,  by  Hauptmann,  Moscheles, 
Gade,  etc.;  teacher  at  Cologne; 
director  1865  of  society  for  promoting 
music  at  Antwerp;  teacher  at  Berlin 
Hochschule  1875.  CarefuJ  if  not 
romantically  inspired  composer  of 
the  school  of  Schumann;  works  in- 
clude pf.  pieces,  orchestral  works, 
and  choral  works,  especially  settings 
of  13th  and  23d  Psalms. 

Barnard,  Charlotte  Alington  [known  as 
Claribel],  song  compr.  b.  Dec.  23. 
1830;  d.  Dover,  Jan.  30,  1869. 
Taught  by  Holmes;  married  Chas. 
C.  Barnard,  1854;  composed  over 
100  popular  songs — Five  o'clock  in 
the  morning,  I  cannot  sing  the  old 
songs,  etc. 

Barnard,  D'Auvergne,  compr.  b.  Isling- 
ton, London,  Apr.  24,  1867.  Though 
not  of  musical  parents,  early  showed 


gifts  as  choir  boy  in  Temple  Church; 
trained  there  by  E.  J.  Hopkins; 
self-taught  as  pianoforte  player, 
gained  many  appointments  as  ac- 
companist; began  composition  at 
19;  soon  after  became  widely  known 
as  compr.  of  songs  Bid  Me  to  Love 
and  Plains  of  Peace;  under  various 
pseudonyms  has  written  over  100 
songs  and  200  pianoforte  pieces;  of 
dance  music  under  name  "  Clo- 
thilde,"  most  popular  perhaps  is 
waltz  Whisper  and  I  shall  hear. 

Barnby,  Sir  Joseph,  compr.  b.  York, 
Aug.  12,  1838;  d.  London,  Jan. 
28,  1896.  Son  of  Thomas,  organ- 
ist; himself  organist  and  choir- 
master at  age  of  12;  entered  Royal 
Acad.  of  Mus.  1854;  organist  at 
several  London  churches;  director 
of  Barnby's  Choir,  inaugurated  by 
Novello  1867-1872;  conducted  daily 
concerts  also  for  Novello  1874-^75; 
conductor  London  Mus.  Society 
1878-86;  precentor  at  Eton  1875- 
92;  principal  Guildhall  School  1892; 
conductor  Royal  Choral  Society. 
Wrote  very  large  number  of  hymn 
tunes,  services,  part-songs,  etc.,  more 
or  less  uninspired;  chiefly  of  im- 
portance for  introducing  works  of 
Bach  and  Gounod  into  England; 
he  also  conducted  first  performance 
of  Parsifal  1884.  Gained  widest 
reputation  as  a  choral  leader,  and 
maintained  his  high  standard  every- 
where by  force  of  character  and  per- 
sonality. "  Of  his  music  sweetness 
rather  than  strength  is  its  salient 
characteristic.  Technically  it  is 
masterly.  ...  He  will  be  known  as 
the  composer  of  the  most  popular 
part-song  ever  written,  Sweet  and 
Low ."  (Monthly  Mus.  Record  1896.) 

Barnett,  John,  compr.  b.  Bedford, 
Eng.,  July  1,  1802;  d.  near  Chelten- 
ham, Apr.  17,  1890.  Of  Prussian- 
Hungarian  parentage.  Son  of  Ber- 
nard Beer,  watchmaker,  second 
cousin  to  Meyerbeer;  showed 
marked  ability  as  singer  as  child; 
articled  at  11  to  S.  J.  Arnold;  de'but 
on  stage  1813;  taught  also  by  Horn 
and  Price;  from  1825-1831  com- 
posed several  musical  farces,  best  of 
which  was  The  Pet  of  the  Petticoats; 
1834  published  collection  of  songs; 
produced  successive  operas,  The 
Mountain  Sylph  1834  first  English 


BARRETT 


BATTISHILL 


opera  in  style  of  Weber,  extremely 
successful,  Farinelli  1839,  etc.; 
taught  singing  after  1841.  His 
nephew  John  Francis,  compr.  b. 
London,  Oct.  16,  1837.  Studied 
Royal  Acad.  Mus.  winning  scholar- 
ship twice;  de"but  1853;  studied 
with  Moscheles,  Plaidy,  and  Haupt- 
mann  at  Leipzig  Cons.;  played  at 
Gewandhaus  1860.  Composed  suc- 
cessful cantatas,  The  Ancient  Mari- 
ner 1870  and  many  others  for  English 
festivals,  also  symph.,  pf.  pieces, 
etc.;  published  Musical  Reminis- 
cences and  Impressions  1908  (?). 

Barrett,  William  Alexander,  writer,  b. 
Hackney,  England,  Oct.  15,  1836; 
d.  London  (?),  Oct.  17,  1891.  Chor- 
ister and  organist;  writer  on  church 
music;  author  of  Life  of  Balfe;  joint 
editor  with  Stainer  of  Diet,  of  Mus. 
Terms;  editor  of  Monthly  Mus. 
Record  and  of  Mus.  Times  for  1887. 

Barri,  Odoardo,  see  Edward  Slater. 

Barth  (bart),KarlHeinrich,  pst.,  teacher. 
b.  Pillau,  Prussia,  July  12,  1847. 
Pupil  of  father,  of  Steinmann  and 
of  Von  Biilow,  Tausig,  etc.;  teacher 
at  Stern  Cons.,  Berlin,  1868,  and 
.  at  Royal  High  School  1871.  Ad- 
mired in  solo  concerts  in  Germany 
and  England  and  also  in  trio  con- 
certs with  De  Ahna  and  Hausmann. 

Bartlett,  Homer  Newton,  compr.  b.  Ol- 
ive, N.  Y.,  Dec.  28, 1845.  Precocious 
talent;  pupil  of  S.  B.  Mills,  Braun, 
Jacobsen,  etc.;  organist  at  various 
•  N.  Y.  churches ;  has  composed  a  great 
many  songs  and  pf .  pieces,  a  cantata, 
sextet,  etc.  His  work  is  always  skil- 
ful, often  brilliant  (especially  in  or- 
chestration) ;  at  its  best,  as  in  A  Love 
Song,  I  Hear  the  Brooklet's  Murmur, 
etc.,  it  is  original,  rich,  and  sincere; 
best  known  work  for  piano,  Polka  di 
Concert. 

Bartlett,  James  Carroll,  compr.,  tenor, 
b.  Harmony,  Maine,  June  14,  1850. 
Entered  N.  E.  Cons.  1869  where  he 
studied  singing  under  O'Neill,  pf .  and 
theory  under  Stephen  Emery;  later  a 
pupil  of  Guilmette  and  Shakespeare ; 
1875-76  went  on  first  professional 
tour  with  Camilla  Urso;  was  musical 
director  for  Edwin  Booth  and  Bar- 
rett; singer  and  teacher  in  Boston; 
orgt.  at  Worcester;  composer  of 
graceful,  singable  songs. 


Basil,  Saint,  b.  Cesarea,  329;  d.  there, 
379.  Bishop  in  Cappadocia;  said 
to  have  introduced  congregational 
singing  and  antiphons  which  Am- 
brose learned  from  him. 

Bassani  (bas-sa-ne),  Giovanni  Battista, 
vlt.,  compr.  b.  Padua,  about  1657; 
d.  Ferrara,  1716.  Pupil  of  Castro- 
villari;  maestro  at  Bologna  Cathe- 
dral; distinguished  violinist,  teacher 
of  Corelli;  composer  of  6  operas, 
sonatas,  suites,  etc. 

Bassford,  William  Kipp,  pst.,  orgt.  b. 
New  York,  April  23,  1839;  d.  1902. 
Pupil  of  S.  Jackson;  successful  con- 
cert tours  as  pianist;  organist,  com- 
poser and  teacher  in  N.  Y. 

Bassi  (bas-se),  Luigi,  dram,  baritone, 
b.  Pesaro,  1766;  d.  Dresden,  1825. 
In  Prague  1784-1806,  and  again, 
after  stay  in  Vienna,  in  1814; 
director  of  Dresden  Opera  under 
Weber;  B.  was  singer  for  whom 
Mozart  wrote  Don  Giovanni. 

Bateson,  Thomas,  compr.  b.  England, 
about  1575;  d.  Dublin  (?),  Mar.  or 
April,  1629  (30) .  Organist  at  Chester 
Cathedral  1599  and  after  1608  of 
Trinity  Cathedral  in  Dublin;  re- 
ceived mus.  degree  from  Trinity 
College  late  in  life,  being  the  first 
mus.  graduate  there.  His  fame  rests 
on  two  sets  pf  madrigals  for  3,  4, 
5,  and  6  voices,  which  give  him 
a  high  place  among  Elizabethan 
composers. 

Batiste  (ba-test),  Antoine  Edouard, 
orgt.  b.  Paris,  Mar.  28,  1820;  d. 
there,  Nov.  9,  1876.  Son  of  a  come- 
dian, page  in  chapel  of  Chas.  X; 
after  1830  went  to  Cons,  where  he 
won  four  first  and  four  second  prizes 
and  in  1840  the  2d  Prix  de  Rome  as 
Hal6vy's  pupil;  appointed  deputy 
teacher  at  Cons,  while  still  a  student; 
held  many  classes;  also  orgt.  at  St. 
Nicolas  des  Champs  and  notably  at 
St.  Eustache  1854-1876.  Educa- 
tional works,  introd.  to  solfeggio 
method,  etc.,  of  great  value;  organ 
compositions,  once  popular,  are  not 
now  so  highly  rated. 

Battishill,  Jonathan,  compr.  b.  Lon- 
don, May,  1738;  d.  Islington,  Dec. 
10,  1801.  Chorister  under  W.  Sav- 
age and  his  articled  pupil;  assistant 
of  Dr.  Boyce  at  Chapel  Royal; 


BATTMANN 


BEACH 


harpsichord  player  at  Covent  Gar- 
den, married  Miss  Davies,  singer; 
with  M.  Arne  composed  Almena; 
later  when  organist  in  different 
churches,  composed  several  anthems 
and  many  favorite  catches  and  songs. 

Battmann  (bat'-man),  Jacques-Louis, 
orgt.  b.  Maasmunster,  Alsace,  Aug. 
25,  1818;  d.  Dijon,  July  7,  1886. 
Qrgt.  at  Belfort  and  Vesoul;  wrote 
method  and  works  for  harmonium, 
works  for  piano,  and  treatise  on 
harmony. 

Bauer  (bou'-er),  Harold,  pst.  b.  Lon- 
don, Apr.  28,  1873.  Son  of  an  Eng- 
lish mother  and  German  father,  he 
first  studied  vln.  with  his  father  and 
Pollitzer;  de'but  as  vlt.  London, 
1883;  after  successful  tours  for  9 
years,  settled  in  Paris,  1892,  where 
by  persistent  application  with  some 
instruction  from  Paderewski  he 
gained  extraordinary  technical  abil- 
ity as  pianist;  in  1893-94  he  toured 
Russia  and  since  then  has  continued 
remarkably  successful  throughout 
Europe  and  America  (including 
South  America);  his  first  appear- 
ance in  America  was  witn  the 
Boston  Symph.  Orch.  Dec.  1,  1900. 

Baumbach  (bourn '-bak),  Adolph,  compr. 
b.  Germany,  1830  (?);  d.  Chicago, 
1880.  Piano  pieces  and  a  collection 
of  quartets  for  church  choir. 

Baumf elder  (boum'-f elder),  Friedrich, 
pst.  b.  Dresden,  May  28,  1836. 
Pupil  of  Otto  and  Joh.  Schneider, 
and  at  Leipzig  Cons,  of  Moscheles, 
Hauptmann,  etc.;  composer  of 
brilliant  salon  music;  director  at 
Schumann  Smgakademie  in  Dresden. 

Bausch  (boush),  Ludwig  Christian 
August,  vln.-maker.  b.  Naumburg, 
Jan.  15,  1805;  d.  Leipzig,  May  26, 
1871.  Maker  and  repairer  of  violins, 
especially  famed  for  his  bows,  in 
Dresden,  Dessau,  Wiesbaden,  and 
Leipzig.  Sons  Ludwig  (182971871) 
at  first  in  N.  Y.  then  in  Leipzig  and 
Otto  (1841-1874)  continued  busi- 
ness, now  owned  by  A.  Paulus  at 
Markneuki  rchen . 

Bayer  (by-er),  Josef,  vlt.,  compr.  b. 
Vienna,  Mar.  6,  1852.  Educated 
at  Realschule,  Handelsakademie, 
and  Vienna  Cons.;  capellmeister  at 


Vienna  Opera;  has  composed  a  great 
deal  of  dance  music  and  several 
operettas  and  opera-ballets. 

Bazzini  (bat-ze'-ne),  Antonio,  vlt., 
compr.  b.  Brescia,  March  11,  1818; 
d.  Milan,  Feb.  10,  1897.  Pupil  of 
Camisoni;  played  in  principal  towns 
of  Italy,  France  and  Spain;  lived  in 
Germany  1841-45;  1873  prof,  of 
comp.  at  Milan  Cons.;  director  1882. 
Composed  opera  Turandot,  sacred 
cantatas,  symph.,  overtures,  Saul 
and  King  Lear,  and  vln.  pieces. 
Works  show  graceful  Italian  spirit 
deepened  by  German  influence. 

Beach,  Amy  Marcy  Cheney  (Mrs.  H. 
H.  A.),  compr.  b.  Henniker,  N.  H., 
Sept.  5,  1867.  She  inherits  musical 
ability  from  her  mother's  family 
and  mathematical  accuracy  from 
her  father's;  has  the  gift  of  absolute 
pitch;  from  early  childhood  was 
remarkably  precocious  in  memory 
for  tunes  and  interest  in  them. 
Lessons  on  the  piano  began  with 
her  mother  at  the  age  of  six  and 
were  continued  at  eight  in  Boston 
under  E.  Perabo,  J.  W.  Hill,  and 
C.  Baermann;  she  studied  harmony 
with  Prof.  Hill  in  1881-82,  and 
studied  counterpoint,  fugue,  and 
instrumentation  by  herself,  making 
her  own  translations  of  Gevaert  and 
Berlioz.  First  public  appearance  in 
Boston  1883;  played  with  Bost. 
Symph.  Orch.  Mar.  28,  1885;  since 
marriage  with  Dr.  H.  H.  A.  Beach 
1885  she  has  played  only  rarely  in 
public.  She  began  to  compose  as  a 
mere  child;  her  first  large  work  was 
a  mass  in  E  flat  1892;  then  followed 
Eilende  Wolken,  a  scene  from  Schil- 
ler's "  Mary  Stuart  ";  Festival  Ju- 
bilate for  chorus  and  orchestra,  for 
the  dedication  of  the  Woman's  Build- 
ing at  the  Chicago  World's  Fair, 
1893;  the  Gaelic  symphony  1896; 
a  violin  sonata  1896;  there  are  also 
many  pf.  compositions  and  songs. 
Goetschius  says  "  the  salient  char- 
acteristics of  Mrs.  Beach's  style  [are] 
strong,  passionate  conception  and 
powerful  emotional  impulse  tem- 
pered and  controlled  by  never- 
failing  command  of  the  means  of 
expression,  hand  in  hand  with  an 
exquisite  sense  of  melodic  and  rhyth- 
mic beauty."  In  larger  works  her 
technical  skill  often  leads  to  an 


BEAUMARCHAIS 


BEETHOVEN 


overweight  of  elaborate  detail;  she 
is  at  her  best  in  the  smaller  forms 
(songs  and  pf.  pieces)  where  her 
delicate  sense  of  melody  finds  charm- 
ing and  sincere  expression. 

Beaumarchais  (bo-mar-sha) ,  Pierre-Au- 
gustin-Caron  de,  librettist,  b.  Paris, 
Jan.  24, 1732;  d.  there,  May  19, 1799. 
Dramatist  from  whose  plays  were 
drawn  libretti  for  Mozart's  Marri- 
age of  Figaro  and  Rossini's  Barber 
of  Seville. 

Beaumont  (bo-mon),  Paul,  compr.  b. 
Mayence,  Jan.  13, 1853.  Son  of  flute- 
player  in  orchestra;  showed  early 
inclination  for  music;  entered  at  14 
office  of  B.  Schott's  Sons,  publish- 
ers, who  assisted  him  in  his  educa- 
tion and  have  published  many  of 
his  works;  compositions  largely  for 
piano,  many  of  them  for  young 
players. 

Beck,  Johann  Heinrich,  vlt.  b.  Cleve- 
land, Sept.  12,  1856.  Studied  at 
Leipzig  Cons.,  violin,  and  composi- 
tion with  Reinecke  and  Jadassohn; 
after  return  to  Cleveland  estab- 
lished violin  school  and  works  in 
large  forms,  overtures  to  Lara  and 
to  Romeo  and  Juliet,  music-drama 
SalammbS,  etc.,  all  unpublished,  per- 
formances of  which  from  Ms.  have 
excited  great  admiration. 

Becker,  Albert  Ernst  Anton,  compr.  b. 
Quedlinburg,  June  13,  1834;  d. 
Berlin,  Jan.  10,  1899.  Pupil  at 
Quedlinburg  of  Bonicke  and  in 
Berlin  of  Dehn;  teacher  of  comp. 
at  Scharwenka  Cons.;  composed 
many  works  for  orch.  with  vln.  and 
with  org.,  songs  (Friihlingszeit),  and 
especially  symph.,  grand  mass,  and 
oratorio  Selig  aus  Gnade,  and  a 
Reformations-Cantata. 

Becker,  Hugo,  'cellist,  b.  Strassburg, 
Feb.  13,  1864.  Son  of  Jean  (1833- 
1884)  eminent  violinist;  pupil  of 
father,  and  on  'cello  of  Grutzmacher, 
De  Swert  and  Piatti;  first  appear- 
ance Leipzig;  solo  'cellist  in  Frank- 
fort opera  1884-*86,  and  teacher  in 
Cons,  there  when  not  engaged  on 
numerous  and  successful  tours  as 
soloist  and  as  member  of  Frankfort 
Quartet  led  by  H.  Heermann;  first 
appeared  in  Boston,  Jan.  12,  1901, 


with  Bost.  Symph.  Orch.  Playing 
is  described  as  of  "  classic  nobility." 
[Riemann.] 

Bedford,  Herbert,  see  Lehmann,  Liza. 

Beer,  Jakob  Liebmann,  see  Meyerbeer, 
Giacomo. 

Beethoven  (ba'-to-ven),  Ludwig  van, 
compr.  b.  Bonn,  Dec.  16,  1770  (gave 
date  himself  as  1772);  d.  Vienna, 
Mar.  26,  1827.  Grandson  of  Ludwig, 
bass  singer  and  capellmeister  in 
electoral  band;  son  of  Johann,  tenor 
singer,  and  of  Maria  Magdalene 
Laym  (nee  Keverich).  B.  was  edu- 
cated in  common  schools  until  age 
of  14,  after  which  he  received  nc 
regular  instruction;  about  1780  a 
friend,  Zambona,  taught  him  Latin, 
French,  and  Italian,  and  helped  him 
in  other  branches.  His  musical  edu- 
cation was  more  thorough;  at  first 
his  father  taught  him  violin  and 
piano  playing  with  great  strictness 
and  severity;  after  1779  he  was  the 
pupil  of  Pfeiffer,  music  director  and 
oboist;  he  learned  to  play  the 
organ  from  Van  den  Eeden  and 
from  his  successor  Neefe.  In  1782  B. 
became  Neefe's  deputy  as  organist; 
in  1783  cembalist  for  rehearsals  of 
the  opera  orchestra;  in  1784  assist- 
ant organist;  and  in  1788  he  also 
played  2d  viola  in  orchestra  of 
theatre  and  at  church  under  Reicha's 
leadership.  In  1787  he  went  to 
Vienna  and  excited  much  interest 
as  a  pianist;  Mozart,  hearing  him, 
foretold  that  he  would  have  a  great 
future.  About  1790  his  home  life 
became  very  miserable  because  of 
the  death  of  his  mother  and  the 
bad  habits  of  his  father;  he  had 
made,  however,  some  good  friends, 
notably  Count  Waldstem,  who  gave 
him  early  encouragement,  and  the 
refined  and  cultured  family  of  Von 
Breunings.  In  1792  the  elector  sent 
Beethoven  to  Vienna  for  study. 
Dissatisfied  with  instruction  he  re- 
ceived from  Haydn,  the  impatient 
Beethoven  took  lessons  from  Schenk 
at  the  same  time,  without  Haydn's 
knowledge.  He  also  took  regular 
lessons  in  counterpoint,  etc.  from 
Albrechtsberger,  whose  strict  for- 
malism disapproved  of  the  student's 
originality;  he  also  received  "  hints  " 
on  vocal  style  from  Salieri  and  on 


BEETHOVEN 


BELICZAY 


quartet  writing  from  Aloys  Forster. 
In  1795  he  first  played  in  public  in 
Vienna,  and  until  the  end  of  his 
life  he  lived  there,  with  occasional 
trips  to  other  cities  and  frequent 
excursions  to  the  country.  Events 
are  not  many  in  his  later  years;  after 
about  1800  he  was  increasingly 
troubled  by  deafness  which  became, 
about  1816,  so  bad  that  his  playing 
and  conducting  were  most  un- 
pleasant. After  1818  he  was  the 
guardian  of  his  brother's  son,  an 
apparently  worthless  youth  whose 
incapacity,  wildness,  and  ingratitude 
caused  his  uncle  serious  distress  of 
mind.  His  first  years  in  Vienna 
were  prosperous,  but  after  about 
1810  his  affairs  did  not  go  so  well, 
though  he  was  never,  it  seems,  as 
near  actual  want  as  some  of  his 
expressions  have  led  biographers  to 
think.  Beethoven  was  short,  thick- 
set, and  very  strong.  He  was 
unceremonious  in  manner,  often 
brusque  and  rude,  easily  irritated 
by  real  or  fancied  slights  and  often 
boisterous  over  his  own  practical 
jokes.  He  seems  to  have  been 
unpopular  with  his  fellow-musicians, 
but  he  made  good  friends  among  the 
members  of  the  Vienna  aristocracy, 
who  bore  with  his  strange  ways. 
As  a  player,  he  was  chiefly  remark- 
able for  the  fertility  of  his  ideas  in 
improvisation  and  for  depth  of  ex- 
pression. He  was  an  indefatigable 
worker  and  his  many  note  books 
(one  of  which  he  had  always  with 
him)  bear  witness  to  the  number  of 
his  ideas  and  to  their  slow  and  pains- 
taking development. 

Beethoven's  works  have  been 
divided  by  Von  Lenz  into  three 
periods,  according  to  their  style, 
not  according  to  strict  chronology. 
The  first  period,  extending  roughly 
to  1800,  includes  the  works  which 
are  like  those  of  his  teachers  and 
contemporaries, — the  earlier  string 
quartets,  piano  sonatas,  etc.  The 
second  period,  up  to  about  1815, 
was  the  freest  and  fullest;  the 
works  here  include  the  third  to 
the  eighth  symphonies,  Fidelia,  Eg- 
mont,  Prometheus,  pf.  concertos  in 
G  and  E  flat,  vln.  concerto,  the  great- 
est sonatas,  etc.  During  this  period 
B.  was  unhampered  by  illness  and 
family  cares  and  his  originality  and 


powers  of  execution  had  full  play. 
Fidelia,  first  produced  in  1805,  was 
practically  rewritten  for  its  per- 
formance in  1806  and  again  for  1814. 
The  third  period  includes  the  ninth 
symph.,  the  Missa  Solemnis,  the 
great  string  quartets,  etc.;  this  is  a 
period  of  struggle  in  his  life,  and, 
in  his  music,  of  loftiness  and  eleva- 
tion which  at  times  seem  almost  too 
great  to  be  contained.  The  notable 
characteristics  of  his  music  as  a 
whole  are  inexhaustible  originality 
of  musical  idea,  and  power  of  mighty 
expression  coincident  with  a  regard 
for  the  existing  sonata  form.  To 
his  contemporaries  B.  was  a  daring 
innovator  because  of  the  freedom 
of  his  modulations  and  his  habit  of 
fusing  into  one  whole  the  different 
parts  of  a  movement  or  a  work,  and 
of  introducing  new  material  in 
unusual  places,  and,  moreover,  be- 
cause he  regarded  music  preemi- 
nently as  a  vehicle  of  expression 
rather  than  as  an  exhibition  of  skill. 
To  his  successors,  however,  he 
belongs  to  the  "  classic "  age, 
because  although  he  filled  the  con- 
ventional forms  more  deeply  than 
any  other  with  noble  thought,  he 
still  did  so  with  constant  regard  to 
the  form.-  He  represents  the  great- 
est achievement  on  both  sides,  con- 
sideration for  purity  of  form,  and 
expression  of  high  thought. 

Behnke  (ban'-ke),  Emil,  teacher,  b. 
Stettin,  1836;  d.  Ostende,  Sept.  17, 
1892.  Lived  in  London;  taught 
and  wrote  about  voice  training  and 
voice  production,  wrote  Mechanism 
a/the  Human  Voice  (1880)  and  other 
books. 

Behr  (bar),  Franz,  compr.  b.  Liib- 
theen,  Mecklenburg,  July  22,  1837. 
Under  pseudo.  William  Cooper, 
Charles  Morley,  Francesco  d'Orso, 
has  published  many  popular  and 
instructive  pf.  pieces. 

Behrend  (bar'-end),  Arthur  Henry,  b. 
Danzig,  Oct.  2,  1853.  Composer  of 
songs. 

Beliczay  (be-li'-chay),  Julius  von,  com- 
pr. b.  Komorn,  Hungary,  Aug.  10, 
1835;  d.  Pesth,  Apr.  30,  1893. 
Originally  an  engineer;  studied  with 
Joachim,  Hoffmann  and  Krenn; 


BELLERMANN 


BENDIX 


taught  mus.  theory  at  Acad.  of  Mus. 
Pesth.  Composed  mass,  symph., 
string  quartets,  etc. 

Be  Hermann,  Johann  Friedrich,  writer. 
b.  Erfurt,  Mar.  8,  1795;  d.  Berlin, 
Feb.  4,  1874.  Wrote  works  explan- 
atory of  theory  and  practise  of  music 
among  the  Greeks.  His  son,  Johann 
Gotfried  Heinrich,  compr.  b.  Berlin, 
Mar.  10,  1832;  d.  Potsdam,  Apr.  10, 
1903.  Pupil  of  Grell  and  at  the 
Royal  Inst.  of  Church  Mus.;  teacher 
of  singing;  prof,  of  mus.  at  Berlin 
Univ.  Composed  many  vocal  works 
and  wrote  theoretical  and  historical 
works  and  articles. 

Bellini  (bel-le'-ni),  Vincenzo,  opera- 
compr.  b.  Catania,  Sicily,  Nov.  1, 
1801;  d.  Puteaux,  near  Paris,  Sept. 
23,  1835.  [Many  authorities  give 
these  dates  as  Nov.  3  and  Sept.  24, 
respectively.]  Son  of  organist,  who 
gave  him  first  lessons;  sent  by 
nobleman  to  Naples  Cons.;  his  first 
opera  produced  1825  while  still  a 
student;  1826  Bianco,  e  Fernando, 
written  on  commission,  had  success 
at  Naples  and  II  Pirata  in  1827 
excited  enthusiasm  at  Milan  and 
all  over  Europe — a  result  partly  due 
to  singing  of  Rubini  for  whom  tefior 
part  was  composed.  After  La  Stran- 
iera  and  Zaira,  a  flat  failure,  in  1829, 
his  version  of  Romeo  and  Juliet, 
/  Capuletti  ed  i  Montecchi  (1830)  was 
followed  by  his  masterpieces  La 
Sonnambula  and  Norma  in  1831. 
The  former  is  the  work  most  fre- 
quently heard  nowadays;  the  part 
of  Amina  has  been  a  favorite  with 
debutantes;  the  simplicity  of  the 
plot  and  the  extreme  tunefulness  of 
the  music  are  the  qualities  most 
praised.  In  1833  B.  went  to  London 
and  to  Paris  where  he  received  assist- 
ance and  advice  from  Rossini;  he 
produced  there  in  1834  /  Puritani. 
He  was  an  eager  and  hard  worker. 
Pougin  says:  "  His  complete  igno- 
rance of  theoretical  rules  and  of  the 
resources  which  a  clever  musician 
may  gain  from  them,  his  almost 
absolute  lack  of  knowledge  of  form 
and  his  naive  and  still  almost  affected 
disdain  for  it,  were  the  very  reasons 
for  his  creating  for  himself  a  special 
form,  which,  although  awkward  and 
lacking  in  movement  and  variety, 
was  essentially  personal."  The 


modern  auditor,  however,  is  not 
compensated  for  the  monotonous 
lack  of  ingenuity  in  his  orchestration 
by  the  tender  sweetness  of  his  melo- 
dies, though  singers  of  the  Italian 
School  will  long  delight  in  his  arias. 

Bemberg  (ban-bar') ,  Herman,  compr.  b. 
Paris,  Mar.  29,  1861.  Son  of  consul 
from  Argentine  Republic;  pupil  at 
Paris  Cons,  of  Dubois  and  Massenet; 
has  written  songs,  a  cantata,  comic 
opera  Le  Baiser  de  Suzon  and  opera 
Elaine,  produced  London  1892  and 
N.  Y.  1894. 

Benda,  Georg,  compr.  b.  Jungbunz- 
lau,  Bohemia,  June  30,  1722;  d. 
Kostritz,  Nov.  6,  1795.  Son  of  Hans 
Georg;  pupil  of  father  and  of  brother 
Franz  (1709-1814)  violinist  and  com- 
poser; 2d  violin  in  royal  band  in 
Berlin;  capellmeister  to  Duke  of 
Gotha;  traveled  to  Italy,  Paris, 
and  Vienna.  Composed  church  and 
instrumental  music,  5  operas,  and 
4  melodramas,  (i.e.,  plays  where 
spoken  words  are  accompanied  by 
music).  Rousseau  may  have  in- 
vented the  form  but  B.  brought  it  to 
success.  Other  brothers  Johann 
(1713-1752)  and  Joseph  (1724-1804) 
both  violinists;  son  Friedrich  Lud- 
wig  (1746-1792),  composer. 

Bendall,  Wilfred  Ellington,  compr.  b. 
London,  Apr.  22,  1850.  Pupil  of 
Lucas  and  Silas,  and  at  Leipzig 
Cons.;  now  living  as  teacher  and 
composer  in  London;  has  written 
'operettas,  songs,  etc. 

Bendel,  Franz,  pst.,  compr.  b.  Schon- 
linde,  Bohemia,  Mar.  23,  1833;  d. 
Berlin,  July  3,  187*4.  Pupil  of 
Proksch  and  of  Liszt  for  five  years; 
visited  America  as  pst.  for  Peace 
Jubilee;  teacher  in  Berlin.  Com- 
posed pf.  pieces,  concerto,  trio, 
etudes,  etc. 

Bendix,  Max,  vlt.  b.  Detroit,  Mar.  28, 
1866.  Pupil  of  Jacobsohn,  but  after 
15  his  own  master;  left  family  and 
supported  himself  by  odd  jobs  at 
theatres  and  concerts  in  Philadel- 
phia; in  Damrosch  orch.,  N.  Y.. 
1887;  concertmeister  of  Germania 
Orch.;  concertmeister  for  Thomas 
1886-1896;  organized  Max  Bendix 
Quartet;  since  1896  teaching  and 
solo  playing  in  New  York;  Chicago 
1909. 


BENDEX 


BENNETT 


Bendix,  Otto,  pf.  teacher,  b.  Copen- 
hagen, July  26,  1845;  d.  San  Fran- 
cisco, March  1,  1904.  Pupil  of  Ree, 
Gade,  Kullak,  and  Liszt.  After 
1880,  settled  in  Boston,  taught  at 
N.  E.  Cons.;  founded  Cons,  in  San 
Francisco.  His  brother  Victor 
Emanuel,  pst.,  compr.  b.  Copen- 
hagen, May  17,  1851.  Pupil  of 
Gade;  teaching  pf.  in  Copenhagen, 
and  conducting  choral  society.  Com- 
posed pf.  pieces,  and  3  symphonies. 

Bendl,  Karl  [Karel],  compr.  b.  Prague, 
April  16,  1838;  d.  there,  Sept.  20, 
1897.  Pupil  of  Blazok  and  Pitsch 
at  Organists'  School;  chorusmaster 
in  opera  at  Amsterdam,  1864;  con- 
ductor of  choral  soc.  Composed 
5  operas,  choruses,  pf.  music  all 
tending  to  expression  of  Czech  senti- 
ments; with  Smetana  and  Dvorak 
he  gained  recognition  for  the  Czech 
in  art. 

Benedict,  Sir  Julius,  compr.  b.  Stutt- 
gart, Nov.  27,  1804;  d.  London, 
June  5,  1885.  Son  of  Jewish  banker; 
pupil  of  Abeille,  then  of  Hummel, 
pupil  and  proteg6  of  Weber  1821- 
1824;  conductor  at  Vienna  1823  and 
at  Naples;  after  visiting  Paris, 
settled  in  London  1835;  conducted 
there  operas,  concerts,  and  festivals; 
came  to  America  with  Jenny  Lind 
in  1850;  knighted  1871.  Com- 
posed in  almost  all  forms,  successful 
operas,  especially  Brides  of  Venice 
1843  and  Crusaders  1846,  sym- 
phony, cantatas,  pf.  pieces,  etc. 
Walker  (History  of  Music  in  Eng- 
land) says  "  works  of  Balfe  .  .  . 
and  Benedict  are  all  far  more  worthy 
of  name  of  opera  than  any  work  of 
Bishop  and  his  contemporaries." 

Benevoli  (ben-e-vo'-li),  Orazio,  compr. 
b. Rome,  1602;  d. there, June  17,1672. 
Pupil  of  Ugolini  (some  say  of  Nanini) ; 
resided  in  Vienna  1643-45;  maestro 
di  cappella  at  various  churches  and 
finally  1646  at  Vatican.  Composed 
great  deal  of  church  music,  chiefly 
remarkable  for  skill  and  ingenuity 
in  managing  a  great  many  parts; 
for  example,  a  mass  and  hymn  in 
56  parts  (vocal  and  instrumental), 
and  a  mass  for  48  voices  in  12  choirs. 

Bennet,  John,  compr.  b.  Lancashire 
(?)  16th  century.  [1570-1615.]  His 
madrigals  are  included  in  famous 


English  collections  from  1599-1614; 
admiration  of  posterity  for  his 
charming  work  has  not  made  it 
possible  to  discover  any  details  of 
his  life. 

Bennet,  Theodore,  see  Ritter,  Theo- 
dore. 

Bennett,  George  John,  compr.  b. 
Andover,  Hants,  Eng.,  May  5,  1863. 
Studied  at  Royal  Acad.  of  Mus. 
under  G.  A.  Macfarren  and  others 
and  in  Germany  under  Kiel, 
Barth,  Rheinberger,  and  Bussmeyer. 
Teacher  at  Royal  Acad.,  organist  at 
several  places,  now  at  Lincoln 
Cathedral;  conductor  Lincoln  Festi- 
vals. Composed  serenade,  overtures, 
trio,  pf.  pieces,  etc. 

Bennett,  Joseph,  writer,  b.  Berkeley, 
Gloucestershire,  England,  Nov.  29, 
1831.  Organist  at  Westminster 
Chapel,  etc.;  author  of  many  Eng- 
lish libretti;  wrote  analyses  for 
programs  of  Philh.  Soc.,  Monday 
and  Saturday  Popular  Concerts 
1885-1903;  edited  Concordia;  has 
contributed  to  various  journals, 
written  several  books  (History  of 
Leeds  Festival,  etc.);  now  music 
critic  on  London  Daily  Telegraph. 

Bennett,  Sir  William  Sterndale,  compr. 
b.  Sheffield,  Apr.  13,  1816;  d. 
London,  Feb.  1,  1875.  Son  of 
Robert,  organist  at  Sheffield  and 
composer;  grandson  of  John,  lay 
clerk  at  Cambridge,  where  B.  lived 
after  father's  death  in  1819;  member 
of  King's  College  Chapel  Choir  1824; 
pupil  at  Royal  Acad.  of  Mus.  of 
Lucas,  Crotch,  Holmes,  and  Cipri- 
ani Potter;  played  concerto  of  his 
own  at  Acad.  concert  at  age  of  17; 
in  1836  in  response  to  invitation 
from  Mendelssohn  whom  his  playing 
had  interested  and  by  the  financial 
aid  of  the  firm  of  Broadwood  he 
went  to  Leipzig  for  a  year;  there  he 
met  both  Schumann  and  Mendels- 
sohn; 1849  founded  Bach  Soc.; 
1856-1866  conductor  of  Philh.  Soc.; 
1856  prof,  of  mus.  at  Cambridge; 
1866  principal  of  Royal  Acad.;  1871 
knighted.  Composed  pf.  music  (3 
concertos,  caprice  for  pf.  and  orch., 
sonata,  studies,  etc.)  of  a  character 
remarkably  consistent  with  the  gen- 
ius of  the  instrument;  cantata  The 
May  Queen  and  oratorio  The  Woman 


BENOIST 


BERINGER 


of  Samaria,  songs,  anthems,  etc. — 
on  the  whole  very  little  for  one  of  his 
ability.  "  The  character  of  all  his 
art  [was]  that  of  high  finish  of  form 
and  grace  of  expression,  not  without 
deep  feeling  at  times,  but  marked 
in  general  rather  by  a  calm  and 
placid  beauty,  and  appealing  to  the 
fancy,  the  sentiment,  and  the 
intellect,  rather  than  to  the  more 
passionate  emotions."  [Grove.] 

Benoist  (b6-n6-a),  Francois,  orgt.  b. 
Nantes,  Sept.  10,  1794;  d.  Paris, 
May  6,  1878.  Pupil  of  Paris  Cons. 
1811-1815;  Grand  prix  de  Rome 
1815;  orgt.  at  Chapel  Royal;  prof, 
of  organ  at  Cons.;  1819-1872,  chefdu 
chant  at  Ope"ra;  pensioned  1872. 
Wrote  2  operas,  ballets,  organ  works. 

Benoit  (be'-no-a),  Pierre-Leonard-Leo- 
pold, compr.  b.  Harlebecke,  Bel- 
gium, Aug.  17,  1834;  d.  Antwerp, 
Mar.  8,  1901.  Studied  at  Brussels 
Cons,  under  Fe'tis;  wrote  opera  and 
music  to  melodramas;  theatre- 
condr.  1856;  won  government  grant 
1857;  after  study  in  Germany 
conducted  at  Paris;  after  1867 
director  Antwerp  Cons.  He  wrote 
many  songs  and  pf.  pieces  and 
many  large  choral  works,  Lucifer 
and  De  Oorlog  (War)  being  perhaps 
best  known.  His  scores  are  large, 
sometimes  majestic  through  mere 
weight;  their  real  grandeur  and 
impressiveness  is  sometimes  marred 
by  B's  "  blind  nationalism,"  his 
desire  to  free  himself  from  all  out- 
side influence;  he  worked  for  many 
years  to  establish  a  school  of  Flemish 
composers,  although  there  seem  to 
be  few  distinctive  traits. 

Berber,  Felix,  vlt.  b.  Jena,  Mar.  11, 
1871.  Pupil  at  Dresden  Cons,  and 
pf  Brodsky  at  Leipzig  Cons.;  1889 
in  London;  1891-96  concertmaster 
at  Magdeburg,  1898-1902  at  Ge- 
wandhaus,  Leipzig;  1904  teacher  in 
Royal  Acad.  in  Munich. 

Berens  (ba'-rens),  Hermann,  pst.  b. 
Hamburg,  Apr.  7,  1826;  d.  Stock- 
holm, May  9,  1880.  Pupil  of  'father 
Karl,  flutist  (1801-1857),  of  Reis- 
siger,  and  Czerny;  went  to  Stock- 
holm 1847;  founded  Quartet  Soirees, 
conducted  at  court  and  theatres, 
taught  comp.  at  Academy.  Com- 
posed opera,  overtures,  chamber 


music  and  songs.  His  technical 
work,  Neueste  Schule  der  Geldu- 
figkeit,  Op.  61,  is  much  used. 

Berger,  Francesco,  pst.  b.  London, 
June  10,  1835.  Pupil  of  L.  Ricci, 
Lickl,  Hauptmann  and  Plaidy;  prof, 
of  pf.  at  Guildhall  School  and  Royal 
Acad.;  director  and  secretary  of 
Philh.  Composed  one  opera,  masses, 
part-songs,  and  First  steps  at  piano- 
forte. 

Berger,  Ludwig,  pf.  -teacher,  b.  Berlin, 
Apr.  18,  1777;  d.  there,  Feb.  16, 
1839.  Pupil  for  harmony  of  Giirr- 
lich,  for  pf.  of  Clementi  with  whom 
he  traveled  to  St.  Petersburg,  to 
Stockholm  and  London  1815;  in- 
fluenced by  Field;  taught  in  Berlin, 
after  1815,  among  others  Taubert, 
Henselt,  Fanny  and  Felix  Mendels- 
sohn, wrote  pf.  studies  of  value  and 
considerable  music  of  various  kinds. 

Berger,  Wilhelm,  compr.  b.  Boston, 
Mass.,  Aug.  9,  1861.  Of  German 
parentage  he  left  America  when 
only  a  year  old;  studied  1878-82  in 
Berlin  Hochschule  with  Kiel;  lived  in 
Berlin  as  teacher;  1903  capellm.  at 
Meiningen  and  composer,  chiefly  of 
choral  works  and  chamber  music, 
popular  Lieder. 

Bergmann,  Karl,  condr.  b.  Ebers- 
bach,  Saxony,  1821;  d.  New  York, 
Aug.  16,  1876.  Pupil  of  Zimmer- 
mann  and  Hesse.  Came  to  America 
1850  with  Germania  Orch.,  which  he 
later  conducted  till  1854;  also  con- 
ducted Handel  and  Haydn  1852- 
54;  and  Philh.  Orch.,  N.  Y.  1855- 
1876  (1855-66  alternately  with  Eis- 
feld),  and  Germ,  chorus  "  Arion." 
Introduced  much  important  music 
to  America;  Theodore  Thomas's 
tastes  and  talents  developed  under 
B's  influence  (Krehbiel,  in  Grove). 

Bergonzi  (bar-gon-tsi),  Carlo,  vln.- 
raaker  at  Cremona,  about  1716-55; 
best  pupil  of  Stradivari,  whose 
models  he  imitated;  especially  dis- 
tinguished as  a  'cello-maker.  Son 
Michel  Angelo,  nephews  Niccolo  and 
Carlo  all  makers  of  no  importance. 

Beringer  (ba-ran-zha),  Oscar,  pst.  b. 
Fiirtwangen,  July  14,  1844.  Pupil 
until  19  of  elder  sister,  then  at 
Leipzig  Cons,  of  Plaidy,  Moscheles, 
and  Reinecke,  and  at  Berlin  of 


B£RIOT 


BERLIOZ 


Tausig  and  Weitzmann.  Teacher  of 
pf.  playing  in  Berlin  and  London, 
since  1894  at  Royal  Academy, 
published  some  pf.  music  and  very 
valuable  technical  exercises,  also 
Recollections  (1908).  Brother  Robert 
(b.  1841)  also  pst.,  and  lecturer. 

Beriot  (ba-ri-6),  Charles  Auguste  de, 
vU.  b.  Louvain,  Feb.  20,  1802;  d. 
Brussels,  Apr.  8,  1870.  Pupil  of  his 
guardian,  Tiby,  a  provincial  teacher; 
precocious  public  performance  of 
Viotti  concerto  at  age  of  9;  went  to 
Paris,  1821,  and  studied  "  under 
advice  of "  Viotti  and  Baillot; 
brilliant  success  in  Paris,  Brussels, 
and  London  until  1830;  concert 
tour  for  five  years  throughout 
Europe  with  Malibran,  who  became 
his  wife  in  1836.  After  her  sudden 
death  the  same  year,  he  retired  until 
1840.  In  1842  refused  offer  of 
professorship  at  Paris  Cons.,  and 
accepted  one  in  1843  at  Brussels 
Cons.,  which  he  kept  until  failure 
of  eyesight  in  1852;  became  totally 
blind  in  1858.  Violinist  of  the 
modern  French-Belgian  school,  of 
brilliant  technic  and  facility. 
Compositions,  once  very  popular 
(seven  concertos,  various  duos  bril- 
lants  for  pf.  and  vln.,  etc.)  are  pleas- 
antly melodious,  but  superficial  in 
style;  he  wrote  also  a  method  and 
exercises.  Vieuxtemps  one  of  his 
pupils.  Son  Charles  (b.  1833)  pst. 

Berlioz  (bar-li-6z') ,  Louis  Hector,  com- 
pr.  b.  La  Cote  St.  Andre,  near 
Grenoble,  Dec.  11,  1803;  d.  Paris, 
Mar.  8,  1869.  Son  of  a  country 
doctor,  forbidden  to  think  of  music 
as  a  career,  he  received  almost  no 
training;  had  studied  Catel's  Har- 
mony and  learned  to  play  flageolet 
before  coming  to  Paris  in  1822  as 
medical  student.  Despite  violent 
opposition  from  his  parents,  who 
finally  stopped  his  allowance,  he  gave 
up  medicine  for  music,  and,  after 
some  lessons  with  Lesueur,  he  was 
admitted  to  Paris  Cons,  in  1823. 
There  he  combined  personal  dislike 
for  the  director,  Cherubini,  with  the 
romanticist's  deep  scorn  for  con- 
ventional methods  and  academic 
theories.  After  a  continuous  strug- 
gle for  seven  years  against  opposi- 
tion from  every  side  added  to 
extreme  poverty  (he  supported 


himself  at  one  time  by  singing  in  the 
chorus  of  a  theatre),  his  heroic  per- 
sistence was  rewarded  when,  in 
1830,  his  cantata  La  mort  de 
Sardanapale  won  him  the  Prix  de 
Rome.  During  eighteen  months' 
stay  abroad,  he  composed  Sym- 
phonie  fantastique,  Lelio,  La  captive, 
and  planned  the  overtures  to  Lear 
and  Le  Corsair.  He  married  in  1833 
Henrietta  Smithson,  an  Irish  actress, 
whose  career  was  soon  after  ended 
by  an  accident;  and  B.  had  another 
seven  years  of  struggle  gaining  liveli- 
hood for  self  and  family  by  writing 
criticisms  and  musical  essays.  In 
scant  spare  time  he  composed 
Harold  en  Italic,  Symphonic  funebre, 
Romeo  et  Juliette,  opera  of  Ben- 
venuto  Cellini,  the  Requiem,  and 
several  songs. 

After  separation  from  his  wife, 
having  by  this  time  begun  to  receive 
some  money  for  his  works,  he  trav- 
eled in  Germany,  Russia,  and  Eng- 
land— appreciated  everywhere  but 
in  Paris.  The  works  of  this  period 
are  Le  traite  d' instrumentation,  La 
damnation  de  Faust,  and  Tristia. 
His  Te  Deum  for  the  exhibition  1855 
at  last  aroused  some  recognition  from 
Paris,  and  in  1856  B.  was  elected  to 
the  Academy;  in  1859  made  librarian 
of  Cons.  He  married  singer  Martin 
Recio,  but  end  of  his  life,  despite 
success  of  opera  Beatrice  et  Benedict, 
was  lonely  and  sad;  Les  Troyens, 
1863,  which  he  considered  his  mas- 
terpiece, had  only  a  short  run. 

His  critical  writings  are  still  of 
value  for  sound  judgment  and  strik- 
ing expression;  Memoir -es  is  one  of. 
the  great  autobiographies.  His  inter- 
est in  literature  revealed  by  the  titles 
of  his  works  is  shown,  too,  by  his 
preoccupation  with  the  intellectual 
meaning,  the  idea  to  be  expressed 
by  the  music.  He  is  chiefly  remark- 
able, however,  for  the  great  rich- 
ness and  variety  of  his  orchestral 
"  color  "  effects.  Philip  Hale  says 
(Modern  French  Songs):  "He  was 
the  inventor,  the  creator  of  the 
modern  orchestra,  and  there  is 
nothing  in  the  history  of  music  more 
remarkable  than  the  courage,  the 
audacity,  the  imagination  of  this 
man,  who  was  without  marked 
melodic  gift,  without  a  thorough 
technical  education,  and  without 


BERNACCHI 


BIBER 


practical  mastery  of  any  one  im- 
portant instrument.  He  shaped  the 
future  of  orchestral  expression." 

Bernacchi  (ber-nak'-ki),  Antonio,  sing- 
er, b.  Bologna,  about  1690;  d.  there, 
Mar.  1756.  Pupil  of  Pistocchi; 
gained  fame  in  Italy;  sang  in  Lon- 
don 1717  and  returned  "  esteemed 
best  singer  in  Italy  "  1729;  revived 
the  custom  of  adorning  singing  with 
roulades,  thus  openly  sacrificing 
expression  to  technical  execution; 
after  about  1730  taught  in  Italy, 
among  others,  Raff,  Mancini,  and 
Guarducci. 

Bernard  (bar-nar'),  [Jean]  Emile  [Au- 
guste],  compr.  b.  Marseilles,  Nov.  28, 
1843;  d.  Paris,  Sept.  11,  1902. 
Pupil  at  Paris  Cons,  of  Marmontel, 
Reber,  and  Benoist,  winning  prizes 
for  pf .,  counterpoint,  and org.  Organ- 
ist at  Notre-Dame  des  champs. 
Serious,  meditative  composer  of 
works  in  various  forms,  suite  for 
violin  and  piano,  Divertissement  for 
wind  instruments,  etc. 

Bernard!,  Francesco,  see  Senesino. 

Bernhard  der  Deutsche  [or  Bernardino], 
orgt.  at  St.  Mark's,  Venice,.  1419-45; 
reputed  inventor  of  organ  pedals, 
but  since  evidence  has  shown  that 
pedal  organ  existed  in  Frankfort  in 
1418,  B's  credit  is  limited  to  having 
introduced  them  in  Italy. 

Bertini  (ber-te'-ni),  Henri- Jerome,  pst., 
compr.  b.  London,  Oct.  28,  1798; 
d.  Meylan,  near  Grenoble,  Oct.  1, 
1876.  Taken  to  Paris  in  infancy, 
taught  by  father,  and  brother  Benoit 
Auguste  (b.  1780;  date  of  death  un- 
known) pupil  of  Clementi;  played 
in  public  at  12;  repeated  successful 
tours  from  Paris  to  Germany  and  Eng- 
land until  retiring  in  1859.  Many 
compositions  distinguished  from  su- 
perficiality then  in  vogue ;  chief  work 
of  value  his  technical  studies. 

Berwald,  William  Henry, compr.,  teacher. 
b.  Schwerin-Mecklenburg,  Dec.,  1864. 
Studied  at  Munich  and  Stuttgart 
under  Rheinberger  and  Faisst; 
conducted  orch.  in  Russia  for  two 
years;  came  to  U.  S.  1892;  profes- 
sor pf.  and  theory  at  Syracuse  Univ. 
Has  published  pf.  pieces,  songs,  part- 
songs  and  anthems. 


Besson  (bes'-son),  Gustave  Auguste, 
instr .-maker :.  b.  Paris,  1820;  d.  there, 
1875.  Early  in  1838  began  series  of 
inventions  improving  valves,  bore, 
etc.,  of  wind  instruments;  greatest 
invention,  1859,  Prototype  System, 
by  which  perfection  of  tone  is 
secured  for  bass  instruments  by  the 
mechanical  process  of  construction. 

Best,  William  Thomas,  orgt.  b.  Car- 
lisle, Eng.,  Aug.  13,  1826;  d.  Liver- 
pool, May  10,  1897.  Son  pf  solicitor, 
pupil  of  cathedral  organist  Young; 
abandoned  original  intention  of 
becoming  civil  engineer  in  1840  and 
devoted  himself  to  study  of  organ. 
Various  appointments  in  and  near 
Liverpool;  after  about  1860  was 
much  in  demand  as  solo  player,  at 
London  Monday  Popular  Concerts, 
at  Albert  Hall,  at  Handel  Festivals, 
etc.;  went  to  Sydney,  Australia, 
1890;  retired  1894.  Remembered 
as  brilliant  solo  player,  who  early 
insisted  on  Bach  and  older  masters; 
wrote  org.  mus.,  Art  of  Organ  Play- 
ing; edited  many  classics  for  org. 

Bettini,  see  Trebelli. 

Bevan,  Frederick  Charles,  orgt.  b. 
London,  July  3,  1856.  Pupil  of 
Willing  and  Hoyte;  several  church 
appointments;  after  studying  sing- 
ing with  Schira,  Deacon,  and  Walker, 
became  1877  gentleman  of  Chapel 
Royal;  composed  several  popular 
songs. 

Bevignani  (bev-in-yan'-e) ,  Enrico,  con- 
dr.  b.  Naples,  Sept.  29,  1841. 
Pupil  in  composition  of  Albanese 
and  Lillo;  produced  successful  opera 
Caterina  Bloom,  1863;  conductor 
in  London  since  1864,  at  Co  vent 
Garden  since  1870;  also  in  Russia 
and  at  Metropolitan,  N.  Y. 

Beyer  (bl'-er),  Ferdinand,  compr.  b. 
Querfurt,  July  25,  1800;  d.  May- 
ence,  May  14,  1863.  Composer  of 
easy  pf .  music  of  the  sort  apparently 
which  pleases  the  young  person  by 
facile  tunefulness,  without  any  real 
idea;  many  opera  transcriptions. 

Biber  (be'-bar),  Heinrich  Johann 
Franz  von,  vlt.,  compr.  b.  Warten- 
burg,  Bohemia,  Aug.  12,  1644;  d. 
Salzburg,  May  3,  1704.  Ennobled 
by  Emperor  Leopold,  1690;  also  in 
service  of  Archbishop  of  Salzburg; 


BIEDERMANN 


BISHOP 


apparently  skilful  performer,  judg- 
ing by  technical  difficulty  of  his 
writings,  and  a  composer  of  more 
artistic  and  deeper  feeling  than  any 
German  contemporary. 

Biedermann  (be'-der-man),  Edward 
Julius,  orgt.  b.  Milwaukee,  Nov.  8, 
1849.  Son  of  A.  Julius  who  taught 
him;  after  study  in  Germany  has 
held  various  appointments  in  N.  Y. 
and  has  taught  there. 

Biehl  (bel),  Albert,  compr.,  teacher,  b. 
Rudolstadt,  Germany,  Aug.  16,  1833. 
Has  published  songs,  pf.  pieces,  and 
especially  valuable  technical  exer- 
cises. 

Billema  (bil-la-ma),  Carlo,  pst.,  compr. 
b.  Naples  about  1822,  and  his 
brother  Raffaele  (1820-1874)  both 
brilliant  psts.  and  composers  of 
salon  music. 

Billings,  William,  compr.  b.  Boston, 
Oct.  7,  1746;  d.  there,  Sept.  29,  1800. 
Apprentice  to  a  tanner,  with  slight 
general  education  and  no  musical 
training,  he  was  led  from  his  work 
by  genuine  enthusiasm  for  music; 
published  in  1770  New  England 
Psalm  Singer  and  in  1778  Singing 
Master's  Assistant,  both  works  of 
some  influence  in  fostering  an  early 
interest  in  original  music;  it  is  said 
that  he  introduced  use  of  pitch-pipe 
and  that  he  first  used  violoncello  in 
church  in  N.  E.  Elson  says:  "  One 
can  forgive  Billings  his  hundreds  of 
errors  of  harmonic  construction 
because  of  his  devotion  to  his  chosen 
art  and  to  his  country." 

Billington,  Elizabeth  [Weichsel],  dram, 
sop.  b.  London,  about  1768;  d. 
Venice,  Aug.  25,  1818.  First  taught 
by  father,  clarinet  player,  and  later 
by  Joh.  Chr.  Bach;  appeared  in 
concerts  as  child;  in  1784  married 
James  Billington,  double-bass  play- 
er; dramatic  dSbut  in  Dublin;  1st 
appearance  in  London,  1786;  sang 
there,  except  for  two  seasons  in 
Italy,  until  1817  when  she  retired. 
Though  a  poor  actress,  her  personal 
beauty  and  wonderful  voice  with 
range  of  3  octaves  brought  her 
great  success. 

Binchois  (ban-sho-a),  Egidius  [or  Gilles 
de  Binch],  compr.  b.  Binche,  near 
Mons,  about  1400;  d.  Lille,  1460. 


At  first  a  soldier,  then  in  holy  orders 
where  he  rose  to  some  prominence. 
Known  as  a  composer  of  secular 
songs,  usually  in  3  parts,  of  the 
school  of  Dufay. 

Bird,  Arthur,  pst.,  compr.  b.  Cam- 
bridge, Mass.,  July  23,  1856.  Pupil 
of  Haupt,  Loeschhorn  and  Rohde, 
Berlin,  1875-77;  orgt.  and  teacher 
at  Halifax,  N.  S.  1877-81;  pupil  of 
H.  Urban  1881,  and  of  Liszt  1885-86; 
successful  concert  1886,  in  Berlin 
where,  with  exception  of  one  visit  to 
America,  he  has  since  lived;  won 
Paderewski  Prize  1901..  Works  in- 
clude symph.,  3  orchestral  suites, 
an  opera  Daphne,  pf.  pieces,  etc. 

Bischoff  (bish'-of),  Hans,  pst.,  teacher. 
b.  Berlin,  Feb.  17,  1852;  d.  Nieder- 
schonhausen,  near  Berlin,  June  12, 
1889.  Pupil  of  Kullak  and  Wuerst; 
teacher  at  Kullak  and  Stern  Cons.; 
conductor  Monday  concerts  of  Sing- 
akademie;  edited  works  by  Kullak, 
compositions  by  Bach,  etc. 

Bischoff  (bish-off),  J.  W.,  orgt.,  compr. 
b.  Chicago,  1850;  d.  Washington,  D. 
C.,  June  2, 1909.  Blind  from  infancy; 
educated  at  Wisconsin  Institute  for 
the  Blind,  and  at  Fond  du  Lac; 
musical  talent,  inherited  from  accom- 
plished father,  trained  by  W.  W. 
Ludden  and  Carlo  Bassini  for  sing- 
ing and  Creswold  of  London  for  org. ; 
orgt.  at  1st  Cong,  church  in  Wash- 
ington, D.  C.,  from  1875;  especially 
successful  as  teacher  of  singing; 
composed  about  150  songs,  piano 
pieces  and  anthems. 

Bishop,  Sir  Henry  Rowley,  compr.  b. 
London,  Nov.  18,  1786;  d.  there, 
Apr.  30,  1855.  Pupil  of  Bianchi; 
early  talent  for  writing;  first  con- 
spicuous success  Circassian  Bride 
1809;  compr.  and  director  at  Co  vent 
Garden,  King's  Theatre,  V.auxhall; 
conductor  Philharmonic  Society; 
professor  at  Edinburgh  and  Oxford. 
Composed  or  arranged  about  125 
works,  including  abridgments  of 
Rossini  and  others,  music  for  Shakes- 
peare's plays.  Also  famous  for  glees 
and  songs,  whether  single  or  in  larger 
works,  notably  Home,  Sweet  Home 
in  Clari  (1823).  Wife  Anna  (1814- 
1884),  daughter  of  singingmaster 
Riviere,  appeared  as  singer  in 
London;  eloped  with  harpist  Bochsa 


BISPHAM 


BLAZE 


1839  and  toured  almost  all  the  rest 
of  her  life  in  America  and  remote 
lands. 

Bispham,  David  Scull,  singer.  b. 
Philadelphia,  Jan.  5,  1857.  At  first 
an  amateur,  singing  in  private  per- 
formances at  church,  and  local 
oratorios;  studied  with  Vannuccini, 
Lamperti  and  Shakespeare  1886- 
1889;  delmt  London  1891;  after 
1897  member  of  opera  companies 
in  London  and  New  York;  has  sung 
all  the  leading  baritone  roles;  and 
has  been  very  successful,  too,  in 
giving  concerts  of  an  individual 
artistic  quality;  distinguished  as  a 
singer  who  is  also  an  excellent  actor. 

Bitter,  Karl  Hermann,  writer.  b. 
Schwedt-on-Oder,  Feb.  27,  1813; 
d.  Berlin,  Sept.  12,  1885.  Studied 
law  and  finance  at  Berlin  and  Bonn 
Univ.,  held  various  official  positions 
culminating  in  that  of  Minister  of 
Finance  1879-1882.  Many  literary 
works,  biographies  of  the  Bachs, 
studies  on  Mozart,  Gluck,  Handel,  etc. 

Bizet  (be-za),  Georges  [real  name 
Alexandre  Cesar  Leopold],  compr. 
b.  Paris,  Oct.  25,  1838;  d.  Bougival, 
near  Paris,  June  3,  1875.  Pupil  at 
Paris  Cons.  1848-1857,  piano  with 
Marmontel,  harmony  with  Zimmer- 
mann,  composition  with  Halevy; 
won  Prix  de  Rome  1857;  wrote 
various  operas,  Vasco  di  Gama  (not 
performed),  Les  pecheurs  de  perles 
(1863),  LajoKe  fille  de  Perth  (1867), 
Djamileh  (1872),  none  of  which  was 
a  great  success.  In  orchestral  music 
— overture  to  Patrie,  incidental 
music  to  Daudet's  L'Arlesienne  and 
suites  formed  from  it,  the  suites 
Roma  and  Jeux  d'enfants — he  was 
more  successful  at  the  time,  and  the 
popularity  of  these  works  and  of  his 
too  few  songs  has  increased.  With 
Carmen,  produced  Mar.  3,  1875,  he 
reached  greatest  height;  opera  was 
not  at  first  successful,  but  frequent 
statement  that  Bizet's  death  was 
due  to  its  failure  seems  to  be  a  senti- 
mental exaggeration.  His  music  is 
essentially  dramatic  in  its  sharpness 
of  outline,  sense  of  contrast,  and  in 
the  definite  appropriateness  of  char- 
acterizing phrases.  He  was  thor- 
oughly modern  in  his  appreciation 
of  tone  values  and  orchestral  color 
and  in  his  technical  skill. 


Blake,  Charles  Dupee,  orgt.,  compr.  b. 
Walpole,  Mass.,  Sept.  13,  1847. 
Pupil  of  J.  C.  D.  Parker,  J.  K.  Paine, 
and  others;  orgt.  at  Bromfield  St. 
and  Union  Ch.  Boston;  composed 
pf.  music,  songs,  opera,  etc. 

Blanc  (blon),  Claude  [called  Claudius], 
compr.  b.  Lyons,  March  20,  1854; 
d.  there,  June  13,  1900.  Pupil  of 
Duprato,  Bazin,  and  Massenet  at 
the  Paris  Conservatory;  1st  har- 
mony and  accomp.  prize  1875;  2d 
Grand  prix  de  Rome,  1877;  director 
School  of  Music,  Marseilles,  1887- 
89;  chorusmaster  Paris  Opera;  com- 
posed operatic  works  and  songs. 

Blangini  (blan-je'-ne),  Giuseppe  Marco 
Maria  Felice,  singer,  teacher,  b. 
Turin,  Nov.  18,  1781;  d.  Paris,  Dec. 
1841.  Choir  boy  at  Turin  Cathedral 
1789;  pupil  of  Ottani;  precocious 
'cellist  and  composer;  at  Paris  1799 
became  fashionable  teacher;  pro- 
duced operas  in  Paris,  Munich  and 
Kassel;  chapelmaster  to  Princess 
Borghese,  music  director  to  King 
Jerome ;  height  of  demand  as  teacher 
in  Paris  after  1814;  prof,  at  Cons.; 
lost  prestige  after  1830.  Wrote  30 
operas,  174  romances,  etc.,  and  auto- 
biography, Souvenirs  (1834). 

Blass  (bias),  Robert,  dram.  bass.  Pupil 
pf  Stockhausen  at  Frankfort;  debut 
in  Lohengrin  at  Weimar;  sang  at 
Bremen,  London,  1899,  Dresden  1900, 
and  New  York  1900. 

Blauvelt,  Lillian  Evans,  sop.  b.  New 
York,  March  16,  1873.  Played  vio- 
lin in  public  at  age  of  eight;  at 
fifteen  became  pupil  of  Bouhy  in 
N.  Y.  Cons.;  after  1889  sang  in 
concerts  in  France,  Belgium,  and 
with  conspicuous  success  in  Russia; 
dramatic  d6but  Brussels  1891;  sang 
in  concerts  with  increasing  success 
in  U.  S.,  Italy,  and  England  where 
she  first  appeared  in  drama  in  1903; 
married  W.  F.  Pendleton  1899;  she 
has  a  pure,  clear  voice,  which  she 
uses  intelligently. 

Blaze  (blaz),  Frangois  Henri  Joseph 
[called  Castil-Blaze],  writer,  b.  Cav- 
aillon,  Dec.  1,  1784;  d.  Paris,  Dec. 
11;  1857.  Taught  by  his  father; 
went  to  Paris  to  study  law,  became 
pupil  at  Cons,  but  gave  up  practise 
of  law  for  musical  criticism  in  1820; 


BLECH 


BLUMENFELD 


beside  influential  contemporary  com- 
ment as  critic  for  the  Journal  des 
debate  and  the  periodicals,  he  wrote 
several  books  mostly  relating  to  the 
history  of  the  opera  and  attendant 
arts  in  France,  translated  words  of 
many  German  operas,  arranged  con- 
siderable music  and  composed  3 
operas  and  smaller  pieces  of  no 
great  distinction. 

Blech  (blek),  Leo,  compr.  b.  Aix-la- 
Chapelle,  Apr.  21,  1871.  After  try- 
ing a  business  career,  studied  music 
for  one  year  at  Hochschule  in  Berlin 
under  Rudorff  and  Bargiel;  con- 
ductor at  Aix  Theatre  1893-96,  with 
lessons  from  Humperdinck  in  vaca- 
tion; 1899-1908  capellm.  at  Prague; 
achieved  European  fame  in  1902 
by  one-act  opera  Das  war  Ich;  has 
also  written  symph.  poems,  choruses, 
etc.  and  4  or  5  operas. 

Blind  Tom  [Thomas  Greene  Bethune], 
musical  phenomenon,  b.  near  Co- 
lumbia, Georgia,  about  1849;  d. 
Hoboken,  N.  J.,  June  17,  1908. 
Parents  slaves  of  James  N.  Bethune, 

"  whose  name  he  took;  blind  and 
idiotic  from  birth,  about  1860  he 
displayed  remarkable  powers  .  of 
playing  and  improvising  on  the 
piano;  he  is  said  to  have  repeated 
difficult  music  after  one  hearing 
and  to  have  supplied  secondo  parts 
to  new  airs;  gave  many  concerts 
and  exhibitions. 

Bliss,  Philip  Paul,  compr.  b.  Clearfield 
Co.,  Pa.,  July  9,  1838;  d.  Ashtabula, 
O.,  Dec.  29,  1876.  Few  advantages 
of  schooling,  worked  on  farms  and 
lumber  camps;  after  three  seasons 
at  Genesee  Normal  Acad.  of  Music 
under  Perkins  and  Zundel,  he  became 
music  teacher;  held  conventions 
with  G.  F.  Root  in  Chicago  and 
the  West  after  1865;  after  1874 
associated  with  D.  F.  Moody  as 
evangelist;  wrote  a  great  many 
stirring  revival  hymns,  Pull  for  the 
Shore,  Hold  the  Fort,  etc. 

Blockx  (bloks'),  Jan,  compr.  b.  Ant- 
werp, Jan.  25,  1851.  Pupil  of 
Callaerts  and  Benolt  in  Flemish 
Mus.  Sch.  and  of  Brassin;  also 
studied  at  Leipz.  Cons.;  in  1886  he 
became  teacher  of  harmony  at 
Antwerp  Cons,  and  in  1902  director; 
also  director  of  Cercle  artistique 


and  other  musical  societies;  has 
composed  Flemish  songs,  chamber 
music,  etc.  but  is  chiefly  known  for 
a  series  of  successful  operas,  Milenka, 
Princesse  d'auberge,  Thiel  Uylen- 
spiegel,  and  La  fiancee  de  la  mer 
which  have  gained  for  him  a  wider 
and  wider  circle  of  admirers.  He  is 
one  of  the  promoters  of  Flemish 
"  national  "  music,  but  his  own 
works  are  liberally  modern. 

Bloomfield-Zeisler  (zis'-ler),  Fanny,  pst. 
b.  Bielitz,  Silesia,  July  16,  1866. 
Parents  moved  to  Chicago  1868; 
taught  by  Ziehn  and  Wolfsohn  and 
appeared  in  public  1876;  Mme. 
Essipoff  having  heard  her  play 
advised  her  to  go  to  Leschetizky, 
with  whom  she  studied  1878-1883; 
married  Sigmund  Zeisler  1885;  since 
1883  she  has  played  constantly  at 
concerts  in  all  parts  of  U.  S.,  with 
frequent  tours  in  England  and 
Germany;  her  virile  force,  highly 
developed  technic,  and  musicianly 
comprehension  have  made  her  tours 
invariably  successful. 

Blow,  John,  compr.  b.  N.  Colling- 
ham,  Nottinghamshire,  1648;  d. 
Westminster,  Oct.  1,  1708.  One  of 
first  set  of  choristers  at  Chapel 
Royal  at  its  reestablishment  1660; 
while  a  chorister  studied  under 
Hingeston  and  Chr.  Gibbons  and 
composed  anthems;  orgt.  at  West- 
minster Abbey  1669-1680  when  he 
gave  up  post  to  Purcell,  possibly 
voluntarily;  resumed  it  1695-1708; 
master  of  children  and  orgt.  at 
Chapel  Royal  1674;  held  other 
appointments  (see  Grove);  prolific 
composer  of  more  than  100  anthems, 
many  for  special  occasions;  pub- 
lished (1700)  collections  of  airs  for 
harpsichord  and  Amphion  Anglicus, 
collection  of  songs,  etc.,  a  masque 
(1687)  and  fourteen  services.  His 
fame  has  been  overshadowed  by 
that  of  his  pupil,  H.  Purcell,  and 
much  of  his  music  has  not  been 
printed. 

Blumenfeld  (blo-men-felt),  Felix  Mikh- 
ailovitch,  pst.  b.  Kovalevska,  Rus- 
sia, Apr.  23,  1863.  Studied  1881-85 
at  St.  Petersburg  Cons,  under  Stein; 
taught  there  since  1885,  prof.  1895; 
since  1898  director  St.  Petersburg 
Opera;  distinguished  performer, 


BLUMENSCHEIN 


BOELLMANN 


compr.  of  songs,  and  music  for  pf. 
and  pf .  and  orchestra,  which,  though 
skilful  and  touched  by  national  feel- 
ing, is  said  to  be  lacking  in  variety 
and  personality.  Brother  Sigismund 
(b.  Dec.  27,  1852)  also  pst.  and 
compr.  of  pf.  music. 

Blumenschein,  William  Leonard,  compr. 
b.  Brensbach,  near  Darmstadt,  Dec. 
16,  1849.  Father  vlt.  in  orch.  and 
compr.  of  dance  music,  mother 
excellent  singer;  family  moved  to 
Pittsburg,  Pa.,  1851;  B.  sang  in 
choir  and  concerts,  studied  vln., 
guitar,  cabinet  org.,  and  pf.;  at 
Leipzig  Cons.  1869-72,  pf.  and 
theory  under  Paul,  Richter,  and 
Reinecke,  directing  under  Ferd 
David;  taught  pf.  and  singing  in 
Pittsburg  with  success;  now  orgt. 
and  condr.  of  Philharmonic  Society 
in  Dayton,  O.;  has  conducted  vari- 
ous societies,  and  was  chorusmas- 
ter  of  Cincinnati  Festivals  under 
Thomas  1891-96;  has  composed 
chiefly  in  smaller  forms,  pf.  pieces, 
songs,  and  protestant  ch.  music, 
with  considerable  success. 

Boccherini  (bok-ke-re'-ne),  Luigi,  com- 
pr. b.  Lucca,  Feb.  19,  1743;  d. 
Madrid,  May  28,  1805.  Taught  by 
father  and  Abbe'  Vannucci;  played 
'cello  in  theatre  orch.;  became 
famous  as  player  and  compr.  from 
early  travels  with  vlt.  Manfredi  in 
Italy  and  southern  France;  after 
great  success  in  Paris  1768,  went  to 
Madrid  and  became  compr.  to 
Infanta;  1787-97  compr.  to  Fr. 
Wilhelm  II  of  Prussia;  at  his  death 
B.,  having  fallen  from  favor,  in 
Spain  where  he  lived  in  increasing 
poverty  (except  for  a  short  period 
under  patronage  of  Lucien  Bona- 
parte) until  his  death.  B.  composed 
467  instrumental  works,  mostly  for 
two  or  more  instruments,  and  some 
vocal  works;  chiefly  remarkable  as 
a  contemp.  of  Haydn  with  whose 
chamber  music  B's  bears  compari- 
son in  charming  simplicity  and  facile 
melody,  though  it  lacks  force  and 
sense  of  contrast.  His  Minuet  is 
well  known. 

Bochsa  (bok'-sa),  Robert  Nicolas 
Charles,  harpist,  compr.  b.  Mont- 
m6dy,  Aug.  9,  1789;  d.  Sydney,  Jan. 
6,  1856.  Son  of  Carl  (d.  Paris,  1821), 


oboe  player  and  music  seller;  pupil 
of  father  on  flute  and  clarinet;  ap- 
peared in  public  at  7,  opera  per- 
formed before  he  was  16;  pupil  at 
Paris  Cons,  of  Catel  and  Mehul, 
and  on  the  harp  of  Nadermann  and 
Marin  whose  instructions  he  soon 
outgrew,  as  he  "  revolutionized  " 
harp  playing;  harpist  to  Napoleon 
and  to  Louis  XVIII;  fled  from 
France  before  charge  of  forgery, 
gave  lessons  in  London,  to  Parish- 
Alvars,  Chatterton,  etc.;  prof,  of  harp 
and  secretary  Roy.  Acad.  of  Mus. 
from  which  post  he  was  dismissed; 
managed  annual  concerts  in  London ; 
eloped  1839  with  Anna  Bishop; 
extensive  tours  in  Europe  and 
America.  Prolific  composer,  chiefly 
of  works  for  harp  of  transient 
popularity. 

Bock,  see  Schroder-Devrient. 

Bocquillon  (bok-i-yon),  see  Wilhem, 
G.  L. 

Boehm  (bem),  Joseph,  vlt.  b.  Pesth, 
Mar.  4,  1795;  d.  Vienna,  Mar.  28, 
1876.  Pupil  of  father  and  of  Rode; 
played  in  Vienna,  toured  Italy;  prof, 
at  Vienna  Cons.  1819-1848;  mem- 
ber imperial  band  1821-1868;  chiefly 
famous  as  teacher  of  Ernst,  Hellmes- 
berger,  L.  Straus,  Joachim,  and  Auer. 

Boehm,  Theobald,  flute  player,  b. 
Munich,  Apr.  9,  1794;  d.  there, 
Nov.  25,  1881.  Court  musician  at 
Vienna  and  composer  of  works  for 
his  instrument;  chiefly  famous  for 
inventions  in  construction  of  flutes 
and  other  wind  instruments;  his 
system  increases  mechanism  and 
alters  tone  of  flute,  but  makes  its 
accurate  range  wider  and  its  tones 
more  even. 

Boekelman  (be'-kel-man) ,  Bernardus, 
pst.  b.  Utrecht,  Holland,  June  9, 
1838.  Pupil  of  his  father,  and  at 
Leipzig  Cons,  of  Moscheles,  Richter 
and  Hauptmann,  and  at  Berlin  of 
Weitzmann  and  Von  Billow;  since 
1866  teaching  in  New  York,  and  at 
Farmington,  Conn.  Composed  for  • 

gf.  and  edited  analytical  edition  of 
ach,  printed  in  several  colors,  which 
is  very  valuable. 

Boellmann  (bo-el-man') ,  Leon,  orgt., 
compr.  b.  Ensisheim,  Alsace,  Sept. 
25,  1862;  d.  Paris,  Oct.  11,  1897. 


BOETHIUS 

Pupil  of  Gigout  at  Niedermeyer 
School;  orgt.  at  Ch.  of  St.  Vincent 
de  Paul;  remarkable  org.  player; 
composed  music  in  almost  every 
form,  all  graceful,  clear,  pure  in 
style;  best  known  single  comp. 
Variations  symph.  for  'cello  and  orch. 

Boethius,  Anicius  Manilas  Torquatus 
Severinus,  writer,  b.  Rome,  about 
475;  d.  there  (?),  524.  Counsellor  of 
Theodoric, '  executed  for  treason; 
philosopher  and  mathematician ; 
wrote  treatise  De  Musica  on  Greek 
music,  chief  source  of  information 
during  Middle  Ages. 

Bohlmann  (bol'-man),  Theodor  Hein- 
rich  Friedrich,  pst.  b.  Osterwieck 
am  Harz,  June  23,  1865.  Studied 
with  Barth,  Klindworth,  d'Albert, 
and  Moszkowski;  successful  concert 
tours  in  Germany;  prof,  at  Cin- 
cinnati Cons,  after  Sept.  1890. 

Bohm  (bom),  Carl,  pst.,  compr.  b. 
Berlin,  Sept.  11,  1844.  Pupil  of 
H.  Bischoff,  Mmes.  Reissmann,  and 
Geyer.  Composer  of  salon  music; 
living  in  Berlin. 

Boieldieu  (bo-a-el'-di-^),  Francois  Adri- 
en,  compr.  b.  Rouen.  Dec.  15, 
1775;  d.  Jarcy,  Oct.  8,  1834.  Son  of 
an  unhappy  marriage  between  an 
archbishop's  secretary  and  a  milliner; 
taught  exclusively  by  Broche,  orgt. 
at  cathedral,  pupil  of  Martini,  whose 
brutal  treatment  caused  his  pupil  to 
run  away  to  Paris;  after  being 
brought  back  B.  composed  opera 
to  words  by  his  father,  produced  in 
Rouen,  and  several  successful  songs; 
operatic  career  in  Paris  began  with 
Les  deux  lettres  1796;  after  great 
success  of  Le  calife  de  Bagdad  1800, 
and  of  some  chamber  music,  B.  was 
'  made  prof,  of  pf.  at  Paris  Cons. 
1800;  as  a  result  of  a  jest  from  Cher- 
ubini  about  his  "  undeserved  "  suc- 
cess, he  submitted  to  instruction  from 
Me"hul  and  probably  from  Cherubini, 
the  marked  results  of  which  appeared 
in  Ma  tante  aurore  1803;  possibly 
as  result  of  unhappy  marriage  with 
the  dancer  Mafleuroy,  B.  spent  8 
years  in  Russia,  as  conductor  of 
Italian  opera;  returned  to  Paris 
1811,  brought  out  Jean  de  Paris  1812 
and  La  dame  blanche,  his  master- 
piece, 1825.  He  had  been  prof,  of 
comp.  at  Paris  Cons,  since  1820; 


BOITO 

retired  in  1828,  but  failure  of  Les 
deux  nuits  1828  and  temporary 
cessation  of  pension  due  to  change 
in  government  forced  him  to  resume 
teaching  1834.  One  of  greatest 
French  comprs.  of  ope'ra  comique; 
especially  in  later  period,  his  char- 
acteristic touches,  poetic  grace,  and 
freshness  of  melody  are  such  that 
Elson  calls  him  "  a  French  Mozart." 
Son  by  second  wife,  Adrien  Louis 
Victor  (Nov.  3,  1815-July  9,  1883), 
pupil  of  father,  composer  of  several 
successful  comic  operas,  mass,  etc. 

Boise  (bois),  Otis  Bardwell,  orgt.  b. 
Oberlin,  O.,  Aug.  13,  1845.  Edu- 
cated at  public  schools  of  Cleveland ; 
orgt.  at  14;  pupil  in  Leipzig  of 
Hauptmann,  Richter,  and  others, 
and  in  Berlin  of  Kullak;  later 
advised  by  Liszt,  orgt.  in  Cleveland, 
and  N.  Y.;  teacher  in  N.  Y.  and 
from  1888  to  1902  in  Berlin;  Brock- 
way  and  Huss  among  pupils;  now 
prof,  in  Peabody  Conservatory, 
Baltimore;  composed  orch.  works, 
harmony  method,  and  author  of  The 
Masters  of  Miisic. 

Boi'to  (bo-e-to'),  Arrigo,  compr.  b. 
Padua,  Feb.  24,  1842.  Son  of  an 
Italian  painter  and  a  Polish  mother, 
brother  of  an  architect  and  critic; 
studied  at  Milan  Cons,  under  Maz- 
zucato  with  so  little  success  at  first 
that  he  narrowly  escaped  dismissal; 
composed  with  Faccio  very  successful 
cantata,  of  which  the  score  is  lost; 
apparently  for  lack  of  initiative 
self-confidence  B.  gave  Jip  music  for 
critical  and  literary  work  in  Paris 
and  Milan  until  1868  when  the 
managers  of  La  Scala  offered  to 
produce  his  Mefistofele.  The  work 
was  hastily  completed  and  its  pro- 
duction was  the  occasion  of  an  almost 
riotous  demonstration;  the  work 
is  undoubtedly  original  and  has 
moments  of  tremendous  force;  it 
differs  from  Gounod's  Faust  in  that 
it  includes  both  parts  of  Goethe's 
poem,  and  its  great  length  is  not 
justified  by  intensity  of  sustained 
interest  or  by  technical  mastery  of 
effects.  In  a  revised  form  the  opera 
had  considerable  success  at  Bologna 
and  Milan  in  1875.  It  is  said  that 
Boi'to  has  completed  two  other 
operas,  Nerone  and  Orestiade,  neither 
of  which  has  ever  been  performed; 


BONAWITZ 


BORDOGNI 


the  greatest  admiration  is  expressed 
by  those  who  have  heard  portions  of 
the  works,  but  their  characteristics 
are  wrapped  in  a  curious  mystery. 
B.,  under  anagram  Tobia  Gorrio,  has 
published  charming  poems  and  has 
written  several  admirable  librettos — 
notably  those  of  Verdi's  Othello  and 
Falstaff. 

Bonawitz  (vitz),  Johann  Heinrich, 
compr.  b.  Durkheim-on-Rhine,  Dec. 
4,1839.  Pupil  at  Li6ge  Cons.;  after 
sojourn  in  America  gave  concerts  in 
London  and  Paris  1861-66;  con- 
ducted Popular  Symphony  Concerts 
in  N.  Y.  1872-73,  and  after  failure  of 
that  undertaking  gave  concerts  with 
some  success  throughout  U.  S. 
Produced  two  operas  in  Philadel- 
phia 1873,  1874,  and  since  1876  has 
lived  in  Europe. 

Bonci,  Alessandro,  operatic  tenor,  b. 
Casena,  Italy,  1874?.  Educated  in  the 
Rossini  Conservatory  at  Pesaro,  under 
Pedrotti  and  Felice  Coen;  in  three 
years  he  was  called  to  the  position  of 
solo  tenor  in  the  church  of  Santa 
Maria,  in  Loreto,  one  of  the  most 
prominent  churches  in  Italy  with  an 
exceptionally  high  musical  standard; 
after  six  years  of  hard  work  he  com- 
pleted his  studies  and  became  the 
leading  tenor  at  the  Royal  Theatre 
in  Parma;  from  this  place  he  went 
to  a  theatre  in  Milan  and  finally  to 
the  famous  La  Scala  Theatre  in  the 
same  city.  His  European  tours  in- 
cluded all  the  leading  cities;  he  also 
won  great  success  at  Buenos  Ayres, 
and  later  at  the  Manhattan  and 
Metropolitan  Opera  House,  New 
York.  In  the  season  of  1910-1911 
he  made  a  concert  tour  of  the  United 
States. 

Bononcini  (bp-non-che-ne),  [Buonon- 
cini],  Giovanni  Battista,  opera  compr. 
Son  of  G.  M.  Bononcini  (1640-167.8) 
church  compr.  b.  Modena,  1660, 
date  and  place  of  death  uncertain, 
probably  Venice  in  1750;  pupil  of 
nis  father  and  Colonna,  and  Buoni 
('cello);  1690  at  Vienna  as  court 
'cellist;  Rome  1694  producing  his 
first  opera;  at  Vienna  1699-1703; 
Berlin  1703-<)5;  again  at  Vienna  and 
various  Italian  cities;  in  London  as 
rival  to  Handel  1716-1731;  falling 
into  the  hands  of  an  alchemist  he 


was  swindled  out  of  his  fortune  and 
never  recovered  his  once  high  posi- 
tion; lived  at  Vienna  and  Venice 
until  his  death.  He  is  credited  with 
22  operas,  a  number  of  church 
works,  madrigals  and  divertimenti. 

Bontempi,  Giovanni  Andrea  Angelini, 
compr.  b.  Perugia,  about  1630;  d. 
Bruso,  July  1,  1705.  Adopted  name 
B.  from  his  godfather;  artificial 
soprano,  asst.  capellmeister  to  Hein- 
rich Schiitz  in  Dresden;  1690  back 
to  Perugia;  wrote  3  operas,  2  theoret- 
ical works  and  a  history  of  music. 

Booth,  Josiah,  org.,  compr.  b.  Cov- 
entry, March  27,  1852.  Studied  at 
Coventry  and  Oxford  and  at  Roy. 
Acad.  Mus.  London,  under  Brinley 
Richards  and  Macfarren;  org.  at 
Banbury  1867,  orgt.  at  Crouch  End 
1877. 

Boott,  Francis,  compr.  b.  Boston,  June 
24, 1813;  d.  Cambridge,  Mar.  1, 1904. 
Attended  school  in  Waltham;  grad. 
Harvard  1831;  never  in  active 
business;  lived  abroad  after  1847; 
studied  comp.  with  Picchianti  in 
Florence;  composed,  under  name 
Telford,  mass,  Miserere,  songs  ( Here's 
a  Health  to  King  Charles,  etc.). 

Borch,  Gaston,  compr.,  'cellist.  b. 
Guines,  France,  March  8,  1871. 
Father  prominent  in  mining  and  en- 
gineering affairs;  received  instruction 
in  languages,  and  in  music  under 
Massenet,  in  Paris,  and  under  Grieg 
in  Norway;  conductor  of  the  Phil- 
harmonic Society  of  Christiania  and 
of  the  Musikverein,  Bergen;  came 
to  the  United  States  and  is  now 
(1910)  a  member  of  the  faculty  of 
the  Pennsylvania  College  of  Music, 
Philadelphia;  compositions  include 
three  operas,  symphony,  piano  con- 
certo, orchestral  works,  piano  pieces, 
songs  and  choruses,  about  150  num- 
bers in  all. 

Bordese  (bor-da'-ze),  Luigi,  compr.  b. 
Naples,  1815;  d.  Paris,  Mar.  17, 
1886.  Studied  at  Naples  Cons.; 
failed  as  dramatic  composer;  after 
1850  taught  singing  and  composed 
innumerable  songs,  vocalises,  wrote 
2  methods. 

Bordogni  (bor-don'-yi),  Giulio  Marco, 
singer,  b.  Gazzaniga,  1788;  d.  Paris 
July  31,  1856.  Pupil  of  Mayr; 


BORDONI 


BORWICK 


d6but  at  Milan  1813;  singer  in 
Paris  1819-33;  teacher  at  Cons. 
1819-24,  1830-56,  Sontag  among 
pupils;  published  vocalises,  etc. 

Bordoni,  Faustina,  see  Hasse,  F. 

Borodin  (bo-ro-din') ,  Alexander  Por- 
phyrievitch,  compr.  b.  St.  Peters- 
burg, Nov.  12,  1834;  d.  there,  Feb. 
27,  1887.  Illegitimate  son  of  Prince 
of  Imeretia;  brought  up  with  every 
advantage;  student  of  medicine  and 
science;  army  surgeon;  professor 
of  chemistry,  founder  of  School  of 
Medicine  for  women  and  lecturer 
there.  In  1862  B.,  then  merely  an 
amateur,  became  one  of  the  circle 
influenced  by  Balakirev;  in  1877 
visited  Lis/t  and  described  him 
vividly  in  letters  afterwards  pub- 
lished. He  began  to  compose  his 
1st  symph.  in  the  same  year  that 
he  met  Balakirev  and  before  his 
untimely  death  he  had  composed  a 
second  symph.,  part  of  a  third,  2 

?uartets,  a  suite,  the  symph.  poem 
n  the  Steppes  of  Central  Asia,  several 
songs  and  an  opera  Prince  Igor, 
finished  after  his  death  by  Rimsky- 
Korsakov  and  Glazounov.  His  best- 
known  works  are  the  symph.  poem 
and  the  quartets.  His  songs  are 
full  of  national  feeling;  in  his  oper- 
atic work,  however,  he  did  not 
follow  his  "  school  "  in  their  extreme 
fondness  for  recitative. 

Borowski,  Felix,  compr.  b.  Mar.  10, 
1872,  at  Burton,  Eng.  Father,  a 
Polish  nobleman  who  fled  to  England 
during  the  Polish  rebellion,  was  his 
first  teacher  on  the  piano  and  violin; 
after  a  general  education  at  private 
schools  in  London  and  Tunbridge 
Wells  he  began  the  study  of  the 
violin  with  Jacques  Rosenthal  and 
later  with  Adolf  Pollitzer  in  London, 
musical  theory  with  Dr.  Charles  W. 
Pearce;  in  1888  he  went  to  the 
Cologne  Conservatory  (Germany), 
where  he  studied  theory  and  com- 
position with  Gustave  Jensen,  violin 
with  Georg  Japha  and  piano  with 
Ernst  Heuser;  on  his  return  to 
England  he  was  first  a  violin  teacher 
at  Aberdeen,  and  during  this  time 
brought  out  his  first  published  com- 
positions, the  mazurkas  in  C  major 
and  C  minor;  in  1894  he  located  in 
London  devoting  his  time  principally 


to  composition,  the  most  striking 
v/ork  of  the  period  being  A  Rus- 
sian Sonata  which  attracted  the 
attention  of  Grieg.  In  1897  he  ac- 
cepted the  position  of  professor  of 
composition  in  the  Chicago  Musical 
College,  and  has  resided  in  that  city 
up  to  the  present  time  (1910);  in 
addition  to  the  composition  classes 
he  taught  violin  for  several  years 
and  has  conducted  the  classes  in 
history  of  music.  He  has  been 
Chicago  critic  for  the  N.  Y.  Musical 
Courier,  of  the  Chicago  Evening  Post 
and  is  now  (1910)  connected  with 
the  Record- Her  old,  and  at  one  time 
prepared  the  program  notes  for  the 
Theodore  Thomas  Orchestra.  Com- 
positions cover  various  branches: 
Marche  Triomphale  and  two  suites 
for  orchestra,  and  two  pieces  for 
string  orchestra;  Suite  in  E  minor, 
two  sonatas,  and  small  pieces  for  the 
organ;  for  the  piano,  a  Russian 
Sonata,  seven  Preludes  and  more 
than  60  smaller  works;  for  violin, 
a  number  of  pieces  of  which  Adora- 
tion is  the  best  known;  six  songs;  a 
concerto  for  piano  and  orchestra  in 
D  minor  and  a  string  quartet  in  A 
minor  are  still  in  manuscript. 

Bortnianski  (bort-nyan'-ski),  Dimitri 
Stepanovitch,  compr.  b.  Gloukoff, 
1752;  d.  St.  Petersburg.  Sept.  25 
(9ct.  8),  1825.  Studied  with  Galup- 
pi  and  followed  him  to  Italy  by  aid 
of  Empress  Catherine;  composed 
operas  in  Italy;  but  on  return  to 
Russia  in  1779  became  director  of 
the  choir  in  St.  Petersburg  (which 
became  "  imperial  choir  "  in  1796), 
for  wh.  he  composed  45  psalms  and 
a  mass;  he  first  reduced  Russian 
church  music  to  system,  and  made 
his  choirs  famous  by  care  in  select- 
ing remarkable  voices  and  training 
them  to  great  skill. 

Berwick,  W.  Leonard,  pst.  b.  Wal- 
thamstow,  Essex,  Feb.  26,  1868. 
Son  of  Alfred,  amateur  'cellist  and 
friend  of  many  musicians;  first 
lessons  at  age  of  5;  later  pupil  of 
Bird  and  Clara  Schumann;  d£but 
Frankfort  1889;  since  then  popular 
in  London  concerts  (some  with 
P.  Greene);  he  is  said  to  be  espe- 
cially great  as  a  player  of  Liszt  and 
Saint-Saens. 


BOSSI 


BRADBURY 


Bossi,  Enrico  Marco,  orgt.,  compr.  b. 
Salo,  Apr.  25,  1861.  Son  of  orgt.; 
studied  at  Liceo  Musicale,  Bologna, 
and  at  Milan  Cons,  under  Pon- 
chielli  and  Fumagalli;  orgt.  at 
Como,  teacher  at  Naples;  teacher, 
director,  and  conductor  at  Venice, 
1902  director  of  Liceo  Musicale; 
made  early  attempts  at  dramatic 
composition,  but  boldness  and  sever- 
ity of  his  style  is  better  shown  in 
numerous  cantatas,  org.  pieces,  and 
oratorio  Le  Paradiso  Perduto.  He 
is  considered  the  most  proficient 
performer  on  the  organ  in  Italy. 

Bottesini  (bot-tes-se'-ne),  Giovanni, 
double-bass  player,  compr.  b.  Crema, 
Dec.  24,  1823;  d.  Parma,  July  7, 
1889.  Son  of  clarinet  player;  singer 
in  choir;  entered  Milan  Cons,  at 
age  of  11,  studied  harmony  and 
comp.  with  Basili  and  Vaccai,  d. 
bass  with  Rossi;  traveled  with 
Arditi;  member  of  orch.  at  Havana 
many  years;  conductor  at  Paris, 
1855-57,  in  London  1871,  and -at 
numerous  other  places  (conducted 
1st  performance  of  Aida  at  Cairo). 
Composed  6  operas,  an  oratorio, 
quartets;  had  marvelous  skill  as  a 
virtuoso. 

Boucher  (bo-sha),  Alexandra  Jean,  vlt. 
b.  Paris,  Apr.  11,  1778;  d.  there, 
Dec.  29,  1861.  Appeared  at  court  at 
age  of  6,  and  at  concerts  at  8;  1787- 
1805,  solo  vlt,  to  Charles  IV  of 
Spain;  later  gave  concerts  through- 
out Europe;  successful  both  because 
of  his  really  fluent  playing  and 
because  of  his  cheap  methods  of 
advertisement;  he  called  himself 
"  L'Alexandre  des  violons." 

Bouhy  (bo-e),  Jacques,  Joseph  Andre, 
singer,  teacher,  b.  Pepinster,  Bel- 
gium, June  18,  1848.  Pupil  at 
Li6ge  and  Paris  Cons.;  d6but  at 
Paris  1870;  created  many  impor- 
tant parts,  among  them  Escamillo 
in  Carmen;  1885-89  head  of  N.  Y. 
Cons.;  returned  to  stage  1890  but  is 
now  (1910)  teaching  in  Paris. 

Bourgault-Ducoudray  (bdr'-go-dii-ko- 
dra),  Louis  Albert,  compr.  b.  Nantes, 
Feb.  2,  1840;  d.  Vernouillet,  July  4, 
1910.  Finished  legal  studies  1859; 
entered  Cons.,  as  pupil  of  A.  Thomas; 
won  Prix  de  Rome  in  comp.  1862; 
has  written  3  operas  (Thamara.  Paris 


1891),  orchestral  pieces,  Stabat  Mater, 
etc.;  chief  work  has  been  study  of 
early  primitive  music  and  revival 
of  it;  has  published  collection  of 
Greek  folk-lore  and  written  about  it; 
lecturer  on  history  of  music  at  Cons, 
since  1878. 

Bouval  (bo-val'),  Jules  Henri,  compr., 
orgt.  b.  Toulouse,  June  9,  1867; 
pupil  of  Dubois  and  Massenet  at  the 
Paris  Conservatory;  1st  prize  for 
harmony  1889,  honorable  mention 
for  Prix  de  Rome  1893;  organist  of 
St.  Pierre  de  Chaillot;  composer  of 
dramatic  works,  ballets  and  songs. 

Bovy,  C.  S.,  see  Lysberg,  C.  S. 

Bowman,  Edward  Morris,  orgt.,  theorist. 
b.  Barnard,  Vt.,  July  18,  1848. 
Pupil  of  Wm.  Mason  and  J.  P. 
Morgan;  orgt.  in  St.  Louis;  studied 
in  Berlin  with  Bendel,  Rohde,  Haupi, 
and  Weitzmann  and  in  Paris  with 
Batiste;  again  in  St.  Louis,  with 
period  of  study  in  England;  founder 
of  Amer.  Coll.  of  Musicians;  orgt. 
in  N.  Y.,  professor  at  Vassar  1891- 
1895;  condr.  of  various  choirs  in  N.  Y. 
and  Brooklyn;  has  translated  and 
prepared  for  English  use  Weitz- 
mann's  Manual  of  Music  Theory. 

Boyce,  William,  orgt.,  compr.  b.  Lon- 
don, Feb.  7,  1710;  d.  Kensington, 
Feb.  7, 1779.  Chorister  at  St.  Paul's; 
articled  pupil  of  M.  Greene,  later 
pupil  of  Pepusch;  held  various  org. 
appointments  in  London;  com- 
posed many  fine  anthems,  serenatas 
and  odes;  increasingly  deaf  from 
early  years,  after  1769  he  devoted 
himself  to  editing  Cathedral  Music, 
collection  of  services  by  English 
masters. 

Brackett,  Frank  H.,  compr.  b.  Fall 
River,  Mass.,  Apr.  8,  1859;  studied 
at  Harvard  University  under  John 
K.  Paine,  and  under  John  W.  Tufts; 
commenced  professional  work  as 
singer,  organist,  and  composer  in 
1881,  filling  positions  as  organist  in 
Boston,  Somerville,  Dorchester,  and 
other  suburbs;  compositions  num- 
ber about  300,  including  piano  pieces, 
songs  and  anthems;  lives  at  Ash- 
mont,  a  suburb  of  Boston. 

Bradbury,  William  Batchelder,  compr. 
b.  York,  Me.,  Oct.  6,  1816;  d.  Mont- 
clair,  N.  J.,  Jan.  7,  1868.  Pupil  of 


BRAGA 

S.  Hill,  L.  Mason,  and  at  Leipzig  of 
Hauptmann  and  Moscheles.  Taught, 
wrote,  conducted  conventions,  made 
pianos,  composed  2  cantatas,  edited 
collections  of  music  which  (The  Key- 
note, The  Jubilee,  etc.)  were  enor- 
mously popular. 

Braga  (bra-ga),  Gaetano,  'cellist,  b. 
Giulianova,  June  9,  1829;  d.  Milan, 
Nov.,  1907.  Pupil  of  Ciandelli  for 
'cello,  Mercadante  for  comp.  at 
Naples  Cons.;  lived  and  played  in 
many  capitals;  friend  of  Rossini 
and  others  but  died  in  poverty; 
composed  3  unsuccessful  operas,  a 
method,  and  several  smaller  pieces,  of 
which  Angel's  Serenade  most  popular. 
"  He  wrote  with  much  intelligence 
but  more  feeling." 

Braham,  John,  tenor,  b.  London,  1774; 
d.  there,  Feb.  17,  1856.  Son  of  poor 
Jews  (real  name  probably  Abraham) ; 
pupil  of  Leoni;  d6but  1787;  later 
pupil  of  Rauzzini,  second  d6but  1796; 
after  period  of  success  on  the  Conti- 
nent, he  enjoyed  career  of  great 
popularity  in  England  1801-1826; 
composed  several  operas  and  wrote 
parts  for  himself  in  many  others; 
lost  fortune  in  speculations;  many 
songs  still  popular,  as  Death  of  Nel- 
son; toured  America  1840. 

Brahms  (brams),  Johannes,  compr.  b. 
Hamburg,  May  7,  1833;  d.  Vienna, 
Apr.  3,  1897.  Son  of  Johann  Jacob 
(1806-72),  oontrabassist  at  Ham- 
burg theatre,  he  studied  with  his 
father  and  Cossel  until  he  was  ten, 
then  with  Marxsen  pianoforte  and 
some  theory.  He  appeared  in  public 
in  1849,  at  a  concert  of  Wachtel's 
and  at  one  of  his  own.  Touring 
through  North  Germany  with  Rem- 
enyi  in  1853  he  met  Joachim  who 
introduced  him  to  Liszt  and  Schu- 
mann, both  of  whom  greeted  him 
enthusiastically,  S.  in  a  famous 
article  Neue  Bahnen  (New  Paths). 
From  1854-1858  B.  was  court  con- 
ductor at  Lippe-Detmold,  then  he 
returned  to  Hamburg  where  he 
stayed  except  for  occasional  concert 
trips  until  1860  when  he  went  to 
Winterthur.  In  1862  he  moved 
finally  to  Vienna;  he  conducted  at 
the  Singakademie  for  one  season  and 
at  the  Gesellschaft  der  Musikfreunde 
for  three,  1872-75;  the  rest  of  his  life 


BRAHMS 

with  some  holiday  trips  and  increas- 
ingly rare  public  appearances  was 
taken  up  by  composition. 

The  early  accounts  of  his  playing 
describe  it  as  fluent  and  brilliant, 
but  later,  perhaps  from  lack  of  care, 
it  became  incoherent  and  blurred. 
Schumann's  enthusiasm  for  his  early 
pf.  pieces  was  not  shared  by  all,  and 
there  was  much  discussion  about 
them  and  about  the  first  pf .  con- 
certo, which  B.  brought  out  himself 
in  Leipzig  in  1859.  The  early 
chamber  music,  two  orchestral  sere- 
nades (1860),  the  German  Requiem 
(1865,  and  with  added  movements 
1868),  Variations  on  a  theme  by 
Haydn  made  his  name  familiar  to 
audiences,  so  that  his  first  sym- 
phony (not  produced  until  1876) 
was  awaited  with  great  eagerness. 
Its  appearance  caused  a  renewal  of 
discussion;  B.  was  accused  of  imi- 
tating Beethoven,  and  praised  for 
continuing  the  master's  work.  He 
was  also  used,  with  some  injustice, 
to  support  the  cause  of  absolute 
music  against  the  ardent  Wagner- 
ites.  His  later  orchestral  works, 
Akademische  and  Tragische  over- 
tures, the  3  other  symphonies,  3 
other  concertos,  later  chamber  music 
have  placed  him  beyond  question 
among  the  great  masters.  His  songs 
once  declared  "  un vocal  "  are  uni- 
versally recognized  as  expressing  the 
soul  of  the  poetry.  Present  discus- 
sion of  him  is  between  those  who 
complain  of  lack  of  color,  of  the 
appreciation  of  the  sensuous  quali- 
ties of  music,  a  dry  formalism  and 
those  who  exalt  the  intellectual  con- 
tent, the  purity  of  form,  originality 
of  scheme,  and  technical  skill.  His 
admirers  find  broad  and  deep  emo- 
tional feeling,  an  impersonal  passion 
subordinated  to  a  lofty  sense  of 
form.  To  Hadow,  Brahms  fulfils 
the  desire  for  "  a  composer  who 
while  he  maintains  and  develops  the 
harmonic  traditions  of  the  Romantic 
School  shall  even  more  devote  him- 
self to  the  restoration  and  evolution 
of  musical  structure,  who  shall  take 
up  the  classical  form  where  Bee- 
thoven left  it  ....  and  raise  it 
to  a  fuller  organization."  So  Hun- 
eker  calls  him  "  the  greatest  con- 
trapuntist after  Bach,  the  greatest 
architectonist  after  Beethoven." 


BRAMBACH 


BREWER 


Brambach  (bram-bak),  Kaspar  Joseph, 
compr.  b.  Bonn,  July  14,  1833;  d. 
there,  June  20,  1902.  Studied  under 
A.  Zur  Nieden  and  Ferd.  Hiller  and 
at  Cologne  Cons.,  where  later  he 
taught;  director  and  teacher  at 
Bonn.  Composed  secular  cantatas 
Fruhlingshymnus,  Prometheus,  etc., 
pf.  concerto,  and  chamber  music. 

Brandeis  (bran-dls),  Frederick,  pst., 
compr.  b.  Vienna,  July  5,  1835 
(or  1832?);  d.  New  York,  1899. 
Pupil  of  J.  Fischhof,  Czerny,  Rufi- 
natscha,  and  of  Meyerhofer  in  N.  Y.; 
debut  N.  Y.  1851;  toured  as  pst., 
various  positions  as  orgt.  Several 
comp.  for  orch.  and  chamber  music. 

Brandt  (brandt),  Marianne  [pseud,  of 
Marie  Bischof],  dram,  contralto,  b. 
Vienna,  Sept.  12,  1842.  Pupil  of 
Frau  Marschner  at  Vienna  Cons,  and 
of  Viardot-Garcia  in  Paris;  de"but 
Graz  1867;  Berlin  1868-86;  sang 
Kundry  in  Parsifal  1882,  alter- 
nating with  Materna;  1886-1890, 
N.  Y.;  now  teaching  in  Vienna.  At 
her  best  during  Berlin  period,  com- 
pass of  voice  so  extensive  that  she 
sang  both  soprano  and  contralto 
parts. 

Brassin  (bras-san),  Louis,  pst.,  compr. 
b.  Aix-la-Chapelle,  June  24,  1840;  d. 
St.  Petersburg,  May  17,  1884.  Son 
of  baritone,  who  changed  name  from 
De  Brassine,  nephew  of  Drouet, 
flute  player;  pupil  at  Leipzig  Cons, 
of  Moscheles;  teacher  1866  at 
Stern  Cons,  in  Berlin,  at  Brussels 
Cons.  1869-78,  and  at  St.  Petersburg 
Cons.  1878-84.  Appeared  early  in 
public,  and  made  tours  with  brothers 
Leopold  (1843-1890)  pst.  and  Ger- 
hard (b.  1844)  vlt.  Louis  composed 
Ecolemoderne  du  piano,  pf.  eludes, 
transcriptions,  2  operas,  etc. 

Braun,  Mrs.  A.,  see  Brema,  Marie. 

Bree  (bra),  Jean  Bernard  van,  vlt., 
compr.  b.  Amsterdam,  Jan.  29, 
1801;  d.  there,  Feb.  14,  1857.  Pupil 
of  Bertelmann;  orch.  player  at  Am- 
sterdam; founded  "  Cecilia  "  1840; 
director  of  music-school ;  composed  3 
operas,  masses,  cantatas,  chamber 
music. 

Breitaer  (brit-ner),  Ludovic,  pst.  b. 
Trieste,  Mar.  22,  1855.  Studied  at 
Milan  Cons,  and  with  Rubinstein 


and  Liszt;  composed  music  to 
Wilhelm  Meister,  song  cycles,  etc.; 
established  and  conducted  Phil- 
harmonic Society  in  Paris;  visited 
America  in  1900.  Went  to  Berlin 
1909  to  teach  in  the  Stern  Cons. 

Brema  (bra-ma),  Marie  [pseud,  of 
Minnie  Fehrmann],  dram,  mezzo 
sop.  b.  Liverpool,  Feb.  28,  1856. 
Father  of  German  origin,  mother 
from  Virginia;  early  taste  for  music 
not  cultivated  until  after  marriage 
to  A.  Braun  1874;  after  study  with 
Henschel,  d6but  at  Monday  Pop. 
Concert  1891  under  name  of  Bremer; 
dram.  de"but  same  year;  first  appeared 
at  Bayreuth  1894;  since  then  has  sung 
Wagnerian  roles  with  success  in  Eng., 
America,  and  Paris ;  has  created  parts 
in  many  operas  and  oratorios,  chiefly 
at  English  festivals  where  her  rich 
voice  has  made  her  a  great  favorite. 

Breslaur  (bres-lowr),  Emil,  teacher,  b. 
Kottbus,  May  26,  1836;  d.  Berlin, 
July  27,  1899.  Studied  at  Stern 
Cons.;  teacher  at  Kullak's  Acad.; 
founder  and  director  of  Piano- 
Teachers'  Seminary;  editor  of  Kla- 
vierlehrer,  and  author  of  several 
important  books  on  pf.  playing  and 
pf.  literature. 

Breval  (bra-val'),  Lucienne  [pseud,  of 
Bertha  Agnes  Lisette  Schilling],  dram, 
sop.  b.  Berlin,  Nov.  4,  1869. 
Pupil  of  Warat,  Obin,  Giraudet  at 
Paris  Cons.,  where  she  took  first 
prize  for  opera  1890;  de"but  1892, 
Paris  Ope"ra,  where  she  has  since 
sung,  except  for  season  at  Ope"ra 
Comique  in  1901;  in  America  1900, 
1902. 

Breville  (bra-vil'),  Pierre  Onfroy  de, 
compr.,  condr.  b.  Feb.  21,  1861. 
Pupil  at  the  Paris  Conservatory  and 
of  C6sar  Franck;  studied  for  the 
bar  and  a  diplomatic  career;  music 
critic  Mercure  de  France  1898-1901; 
teacher  at  Schola  Cantorum;  com- 
positions include  orchestral  and 
choral  works,  masses,  motets,  songs, 
piano  and  organ  pieces. 

Brewer,  John  Hyatt,  orgt.,  compr.  b. 
Brooklyn,  Jan.  18,  1856.  Boy 
soprano  in  several  churches,  pupil 
Navarro  (harm.)  and  Buck  and 
others  (org.);  various  positions  as 
orgt.  in  N.  Y.;  active  member  of 


BRIDGE 


BRONSART 


many  musical  societies;  has  con- 
ducted several  choral  societies; 
teaches  singing,  org.,  and  theory. 
Has  composed  church  and  organ 
music,  glees,  songs,  and  choral  works, 
suite  for  orchestra  (Ms.). 

Bridge,  Sir  John  Frederick,  compr.  b. 
Oldbury,  near  Birmingham,  Dec.  5, 
1844.  Chorister  in  Rochester  Cathe- 
dral, where  his  father  became  lay 
clerk  in  1850,  articled  to  John 
Hopkins,  orgt.;  held  various  org. 
appointments  at  Windsor  (where  he 
was  pupil  of  J.  Goss),  at  Manchester, 
and  finally  at  Westminster  Abbey 
as  deputy  1875  and  in  full  1882; 
in  consequence  of  this  office  he  had 
charge  of  the  music  for  Queen 
Victoria's  jubilee  1887  and  King 
Edward's  coronation  1902.  He  took 
degree  Mus.  Doc.  at  Oxford  1874; 
was  knighted  1897  and  has  received 
many  honorary  titles.  He  taught 
at  Owens  College  while  in  Man- 
chester, is  Gresham  Prof.,  prof,  at 
Univ.  of  London,  examiner  in  sev- 
eral colleges.  Composed  oratorios, 
anthems,  etc.,  collected  "  Abbey 
Chants,"  wrote  Primer  of  Counter- 
point, etc.  "  His  works  show  the 
vivacity  of  his  mercurial  tempera- 
ment." [Grove.]  His  brother, 
Joseph  Cox  B.,  orgt.  b.  Rochester, 
Aug.  16,  1853.  Pupil  of  Hopkins, 
and  pupil  and  assistant  of  brother 
at  Manchester;  Mus.  Doc.  Oxford 
1885;  since  1877  orgt.  at  Chester 
Cathedral;  prof.  mus.  Durham 
Univ.  1908;  revived  Chester  Fes- 
tivals, founded  Chester  Mus.  Soc. 
Composed  festival  cantatas,  sym- 
phony, pf.  music,  songs,  and  part- 
songs. 

Brink,  Jules  ten,  compr.  b.  Amster- 
dam, Nov.  4,  1838;  d.  Paris,  Feb.  6, 
1889.  Pupil  of  Dupont  in  Brussels, 
Richter  in  Leipzig;  director  Lyons 
1860-68,  after  that  in  Paris;  wrote 
symphonic  poems,  one-act  opera,  etc. 

Brisson  (bris'-son),  Frederic,  pst.  b. 
Angouleme.  Dec.  25,  1821;  d. 
Orleans,  June  or  July,  1900.  Pupil 
of  Garandet;  an  elegant  pianist,- 
a  distinguished  performer  on  har- 
monium, for  which  he  wrote  much; 
published,  beside  operetta  and  organ 
method,  more  than  150  slight  pf. 
pieces. 


Bristow,  George  Frederick,  compr.  b. 
Brooklyn,  Dec.  19,  1825;  d.  New 
York,  Dec.  13,  1898.  Studied  in 
London  with  Macfarren;  condr. 
Harm.  Soc.,  Mendelssohn  Union, 
orgt.  in  several  churches,  head  of 
mus.  dept.  N.  Y.  public  schools, 
original  member  and  condr.  of  N.  Y. 
Philharmonic.  Composed  opera  Rip 
Van  Winkle  1855,  a  cantata  Niag- 
ara, and  symphonies,  quartets,  etc. 
Made  an  early  stand  for  American 
music. 

Brirton,  Thomas,  amateur,  b.  Higham 
Ferrers,  or  Wellingborough,  North- 
ampton, about  1651;  d.  London, 
Sept.  27,  1714.  Known  as  "  Musical 
Small-coal  Man,"  because  he  dealt 
in  coal;  1678  established  weekly 
concerts  over  his  shop  and  a  musical 
club  for  practise,  both  frequented 
by  aristocratic  and  famous  people, 
Handel,  Pepusch,  etc.  Also  known 
in  book  collecting  circles. 

Brockway,  Howard  A.,  compr.,  pst.  b. 
Brooklyn,  Nov.  22,  1870.  Studied 
pf.  with  Kortheuer  and  in  Berlin 
1890-1895  with  Earth  and  O.  B. 
Boise;  conducted  concert  of  own 
works  Berlin,  1895;  teaching  in 
New  York,  and  Peabody  Conserva- 
tory, Baltimore.  Equipped  by  un- 
usually thorough  training,  he  has 
composed  early  in  difficult  forms, 
symph.,  symph.  ballad,  romanza  for 
vln.  and  orch.,  etc.  Sylvan  Suite  for 
orch.  best  known. 

Brodsky,  Adolf,  vlt.  b.  Taganrog, 
Russia,  Mar.  21,  1851.  Studied  at 
Vienna  Cons.  1862-63  with  J.  Hell- 
mesberger,  of  whose  quartet  he 
became  a  member;  studied  also  with 
Laub  in  Moscow,  where  he  taught 
at  Cons.;  condr.  at  Kieff  1879;  taught 
at  Leipzig  Cons.  1882-83,  in  N.  Y. 
1891-94,  in  Berlin  1894,  at  Manches- 
ter Royal  Coll.  pf  Mus.,  of  which  he 
became  director  in  1895. 

Broekhoven  (bre'k-ho-fen),  John  A., 
teacher,  theorist,  b.  Beek,  Holland,  in 
1852.  Prof,  pf  harmony  and  coun- 
terpoint at  Cincinnati  Coll.  of  Music; 
has  written  text-books,  Suite  cr6ole 
for  orch.,  overture  Columbia,  etc. 

Bronsart,  Hans  von  [really  B.  von 
Schellendorf],  condr.  b.  Berlin, 
Feb.  11,  1830.  Studied  at  Berlin 


BROSCHI 


BRUMEL 


Univ.,  lessons  in  theory  from  Dehn, 
piano  with  Kullak  and  Liszt;  con- 
ducted "  Euterpe  "  Leipzig;  "  Gesell- 
schaft  der  Musikfreunde  "  Berlin;  is 
"Hofmusikintendant"  Berlin;  comp. 
opera  Der  Corsdr,  symph.,  well- 
known  pf.  concerto.  His  wife  Inge- 
borg  (nee  Starck)  pst.,  compr.  b.  St. 
Petersburg,  Aug.  24,  1840.  Pupil 
of  Henselt  and  Liszt;  first  concert 
at  12;  married  Hans  von  B.  1862; 
composed  3  operas,  pf.  music  in 
all  forms. 
Broschi  (bros-ke),  Carlo,  see  Farinelli. 

Broustet  (bro-sta),  Edouard,  pst.  b. 
Toulouse,  Apr.  29,  1836.  Studied 
with  Stamaty,  Litolff,  and  Ravina; 
after  tours  to  St.  Petersburg,  Spain, 
and  Portugal,  settled  in  Toulouse 
where  he  has  composed  pf.  concerto, 
chamber  music,  pf.  pieces. 

Brown,  Obadiah  Bruen,  teacher,  b. 
Washington,  D.  C.,  July  2,  1829; 
d.  Maiden,  Mass.,  Mar.  5,  1901. 
Pupil  in  Boston  of  Zerrahn,  Parker, 
David  Paine;  in  Leipzig  of  Lobe 
and  Plaidy;  teacher  in  several  Mass. 
state  normal  schools,  orgt.  in  Bos- 
ton; director  of  music,  public 
schools,  Maiden;  edited  several 
collections  for  school  use,  composed 
choruses,  anthems,  etc. 

Bruch  (briik).  Max,  compr.  b.  Cologne, 
Jan.  6,  1838.  Mother  (nee  Almen- 
rader),  a  singer,  guided  his  education; 
first  lessons  in  theory  from  Breiden- 
stein  at  Bonn;  having  gained  four- 
year  scholarship  at  Frankfort-on- 
Main,  studied  under  Hiller,  Rein- 
ecke,  and  Breuning;  taught  and 
brought  out  first  operetta  at  Cologne; 
produced  opera  Loreley  on  libretto 
written  for  Mendelssohn  at  Mann- 
heim 1863;  has  held  various  posi- 
tions as  director  at  Coblenz,  of  Stern 

•  Singing  Soc.  Berlin,  of  Liverpool  Har- 
monic Society,  of  Orchesterverein  at 
Breslau;  married  singer  Emma  Tuc- 
zek  1881;  came  to  America  1883, 
brought  out  Arminius  at  Boston  by 
Cecilia  Society.  Has  composed 
several  cantatas  of  epic  nature, 
Odysseus,  Arminius,  AchUleus, 
Frithjof;  his  Fair  Ellen  a  favorite 
with  choral  societies;  songs;  3  vln. 
concertos,  of  which  the  1st,  in  G,  is 
very  popular;  pieces  for  'cello  (nota- 
bly Kol  Nidrei  a  Hebrew  melody). 


His  music  is  marked  by  clearness  and 
purity  of  melodic  idea  and  unusual 
skill  in  combinations  of  vocal  and 
orchestral  masses. 

Bruckner  (brok-ner),  Anton,  orgt., 
compr.  b.  Ansfelden,  Austria,  Sept. 
4,  1824;  d.  Vienna,  Oct.  11,  1896. 
Earliest  lessons  from  father,  a 
village  school-master;  while  orgt. 
at  Linz  Cathedral  after  1855  he 
studied  in  Vienna  with  Sechter  and 
Kitzler;  1867  orgt.  in  Vienna  and 
prof,  at  Cons.,  1875  lecturer  at 
Univ.;  1869  and  1871  played  in 
France  and  England  as  org.  virtuoso. 
His  compositions  include  a  string 
quartet,  3  grand  masses,  a  Te  Deum, 
8  symphonies,  and  3  movements  of 
a  9th.  He  lived,  even  in  the  capital, 
the  simple  life  of  a  villager,  dis- 
tressed by  the  violent  hostility 
which  his  works  aroused,  but  never 
permitting  this  to  move  his  earnest 
persistence.  He  was  a  devoted 
adherent  of  Wagner's  theories  and 
in  his  symphonies  he  aimed  to 
apply  them  to  absolute  music. 
Much  of  the  hostility  which  he 
encountered  was  due  to  the  fact 
that  he  was  regarded  probably 
against  his  wish  as  the  symphonist 
selected  by  the  Wagnerites  to  oppose 
Brahms.  Viewed  apart  from  their 
contemporary  critical  quarrel,  his 
music  appears  as  a  somewhat  uneven 
combination  of  passages  showing 
power,  nobility,  and  imagination 
with  passages  of  tedious  length  and 
heavy  and  pedantic  dryness. 

Briill  (briil),  Ignaz,  pst.,  compr.  b. 
Prossnitz,  Moravia,  Nov.  7,  1846; 
d.  Vienna,  Sept.  17,  1907.  Pupil  of 
Epstein,  Rufinatscha,  and  Dessoff; 
successful  concerts  in  Vienna  and 
other  cities,  notably  in  London  in 
1878;  teaching  in  Vienna  after  1872; 
opera  Das  goldene  Kreuz,  Berlin 
1875,  had  wide  success  in  other 
cities;  has  composed  9  other  operas, 
a  symph.,  an  overture,  3  concertos, 
etc. 

Brume!  (bru-mel'),  Anton,  compr.  b. 
about  1480;  d.  about  1520.  Pupil 
of  Okeghem;  lived  at  courts  of 
Dukes  of  Sora  and  Ferrara;  com- 
posed at  least  15  masses,  motets, 
and  other  sacred  music;  said  by 
contemporaries  to  have  excelled  by 


BRUNEAU 


BULL 


industry  rather  than  genius;  wrote 
a  comp.  in  8  parts,  each  in  different 
church  mode. 

Bruneau  (brii-no),  [Louis  Charles  Bon- 
aventure],  Alfred,  compr.  b.  Paris, 
Mar.  3,  1857.  Of  musical  parents; 
studied  at  Paris  Cons,  'cello  with 
Franchomme,  comp.  with  Massenet; 
critic  for  Gil  Bias  and  Figaro; 
conductor  Op4ra  Comique  1903. 
Has  composed  overture,  3  choral 
symphonies,  2  collections  of  songs, 
and  a  Requiem  mass  beside  the  5 
operas  which  are  his  chief  works. 
Of  these  Le  reve,  L'Attaque  du  mou- 
lin,  Messidor  and  L'  Ouragan  are  on 
texts  either  written  by  Zola  or  based 
on  his  works,  the  last  two  being  in 
prose.  Music  at  first  was  considered 
very  difficult  and  harsh,  because  of 
effort  made  at  accurate  delineation  of 
characters,  which  is  strikingly  suc- 
cessful; each  work  has  a  characterized 
and  influential  setting,  like  the  storm 
in  L' Ouragan,  which  gives  atmos- 
pheric unity.  Has  published  also  3 
volumes  of  acute  musical  criticism. 

Brunner  (broo-ner),  Christian  Trau- 
gott,  orgt.,  condr.  b.  Briinlos,  Erzge- 
birg,  Dec.  12,  1792;  d.  Chemnitz, 
Apr.  14,  1874.  Organist  and  con- 
ductor of  choral  societies;  composed 
instructive  pf.  pieces,  variations,  etc. 

Bucalossi  (boo-ca-los'-si) ,  Ernest,  compr. 
Composed  from  early  years;  pupil  at 
Royal  Acad.  Mus.;  in  1881  succeeded 
his  father  as  conductor  at  London 
theatre;  conductor  with  traveling 
company;  compr.  of  popular  dance 
music,  notably  La  Gitana  waltz. 

Buck,  Dudley,  orgt.,  compr.  b.  Hart- 
ford, Conn.,  Mar.  10,  1839;  d.  Oct. 
6,  1909,  at  Orange,  N.  J.  Pupil  of 
Babcock,  at  Leipzig  Cons,  of  Plaidy, 
Moscheles,  Hauptmann,  and  Rietz, 
at  Dresden  of  Schneider,  and  at 
Paris;  organ  appointments  in  Hart- 
ford, Chicago,  Boston  (where  his 
recitals  as  orgt.  of  Music  Hall  Ass'n 
had  great  influence),  and  in  N.  Y.; 
asst.  cOndr.  of  Thomas  Concerts, 
N.  Y.;  director  of  Apollo  Club; 
retired  from  all  but  theoretical  and 
comp.  work  1902.  Composed  ora- 
torios Golden  Legend,  Light  of  Asia, 
cantatas  Legend  of  Don  Munio,  Cen- 
tennial Meditation  of  Columbia  (for 
Exposition  1876),  several  excellent 


short  sacred  cantatas,  songs,  anthems, 
org.  pieces.  His  music  shows  skill, 
intelligence,  freedom  from  pedantry, 
and  much  of  the  elements  of  popu- 
larity. Has  had  wide  influence  in 
extending  respect  for  American  music 
and  in  training  younger  men,  Chad- 
wick,  Gleason,  Eddy,  Neidlinger  being 
his  pupils. 

Buhlig,  Richard,  pst.  b.  Chicago,  1880 
of  German  parents.  Went  to  Vienna 
1887  as  pupil  of  Leschetizsky. 
D6but  1900,  London  1905,  in  the 
U.  S.  1907.  Thoughtful  and  serious 
artist,  of  unusual  executive  ability. 

Bull,  John,  orgt.,  compr.  b.  Somerset- 
shire, about  1563;  d.  Antwerp,  Mar. 
12  (13?),  1628.  Pupil  of  Blitheman; 
orgt.  at  Hereford  Cathedral  and 
1591  of  Chapel  Royal;  Mus.  Doc. 
Oxford  1592;  Gresham  Prof,  of 
Mus.  1597;  in  service  of  Prince 
Henry  1611  although  Roman  Cath- 
olic; 1613  left  England  without  leave 
under  questionable  circumstances, 
and  in  1617  became  orgt.  at  Ant- 
werp Cath.  Comp.  anthems  and 
music  for  org.  or  virginal  "  unequal 
in  character,  and  generally  more 
ingenious  than  beautiful."  So  brill- 
iant a  performer  that  he  has  been 
called  "  the  Liszt  of  his  age." 

Bull,  Ole  Borneman,  vU.  b.  Bergen, 
Feb.  5,  1810;  d.  Lyso,  near  Bergen, 
Aug.  17,  1880.  Father,  physician, 
who  disapproved  of  musical  career, 
but  uncle  and  other  members  of 
family  eager  amateurs;  lessons  from 
Paulsen  and  Lundborg,  but  mainly 
self-taught;  abandoned  study  of 
theology  at  Univ.  of  Christiania  to 
conduct  mus.  society  there;  at 
Paris  1831,  by  hearing  Paganini 
inspired  to  great  efforts,  which  with 
poverty  brought  on  illness;  1832  he 
reappeared  in  public  and  thereafter 
had  great  success  in  Europe  and 
especially  in  the  U.  S.;  1848  founded 
national  theatre  in  Bergen;  1870 
again  in  U.  S.,  where  he  married  a 
second  time,  and  where  he  lost  a 
considerable  fortune  in  an  attempt 
to  found  a  colony  for  his  poor 
countrymen.  Technical  skill  was 
fairly  amazing  and  gave  adequate 
expression  to  the  patriotic  spirit  of 
the  North  in  his  compositions,  which 
were  the  only  ones  he  played. 


BULLARD 


BURMEISTER 


Bullard,  Frederic  Field,  compr.  b. 
Boston,  Mass.,  Sept.  21,  1864;  d. 
there,  June  24, 1904.  Gave  up  study 
of  chemistry;  studied  4  years  with 
Rheinberger  in  Munich;  taught  in 
Boston  after  1892;  published  many 
expressive  songs,  anthems  and  vig- 
orous part-songs,  some  of  which,  Stein 
Song,  etc.,  are  very  popular. 

Billow  (bii-lo),  Hans  [Guido]von,  pst., 
condr.  b.  Dresden,  Jan.  8,  1830;  d. 
Cairo,  Feb.  12,  1894.  Taught  pf. 
and  harmony  at  9  by  Wieck  and 
Eberwein;  studied  law  at  Leipzig 
Univ.,  counterpoint  with  Haupt- 
mann;  adopted  Wagner's  radical 
theories  after  performance  of  Lohen- 
grin at  Weimar;  followed  him  to 
exile  and  learned  conducting  from 
him;  pupil  of  Liszt  at  Weimar; 
first  tour  1853  in  Germany  and 
Austria;  held  various  appointments 
as  teacher  (Stern  Cons.  1855,  etc.); 
court  pst.,  and  condr.  in  several 
places,  notably  Meiningen,  where  he 
brought  the  orch.  to  height  of 
excellence  1880-85;  married  1857 
Cosima  Liszt  (later  the  wife  of 
Wagner)  from  whom  he  separated 
1869;  married  actress  Marie  Schan- 
zer  1882;  gave  139  concerts  in 
America  1875-76.  His  wonderful 
power  of  intellectual  analysis  of 
music  not  only  appeared  in  his 
finished  playing  but  is  preserved  in 
his  admirable  critical  editions,  as 
those  of  Beethoven's  sonatas  and 
such  pianoforte  arrangements  as 
that  of  Tristan  and  Isolde.  His 
phenomenal  memory  enabled  him 
to  do  justice  to  the  largest  possible 
repertoire;  he  also  set  the  fashion 
of  conducting  without  score.  His 
playing  seems  to  have  been  a  tri- 
umph of  careful  analytical  prepara- 
tion combined  with  an  apparently 
spontaneous  emotional  expression. 

Bungert,  August,  compr.  b.  Miilheim- 
on-Ruhr,  Mar.  14,  1846.  Pupil  of 
Kufferath  and  at  Cologne  Cons.; 
music  director  at  Kreuznach;  fur- 
ther studies  in  counterpoint  with 
Kiel  in  Berlin  1873-81;  living  in 
Italy  since  1882.  Has  written  pf. 
quartet  which  took  prize  in  Flor- 
ence 1878,  comic  opera  produced 
Leipzig  1884,  etc.;  his  great  \vorks 
are  two  dramatic  cycles  not  yet 


completed  based  on  the  Iliad  and  the 
Odyssey,  after  Wagnerian  models; 
Odysseus  Heimkehr,  first  part  pro- 
duced 1896,  excited  considerable 
comment. 

Buonamici  (bu-o'-na-me'-che),  Giusep- 
pe, pst.  b.  Florence,  Mar.  19,  1846. 
First  taught  by  uncle  Ceccherini; 
by  Von  Billow  and  Rheinberger  at 
Munich  Cons.  1868-70;  teacher 
there  1870-73;  conductor  of  choral 
soc.  in  Florence,  and  founder  of  trio 
society  and  teacher  there;  his  great- 
est work  is  editing  of  Beethoven 
sonatas  and  composition  of  technical 
studies  based  on  difficulties  in 
Beethoven.  Son  Carlo,  b.  Florence, 
June  20,  1875.  Pupil  of  mother  and 
father,  and  of  Van  Zeil  at  Wiirzburg; 
came  to  Boston  1896,  as  teacher  and 
concert  pianist ;  1908,  with  Felix 
Fox,  founded  Fox-Buonamici  School. 

Buranello,  see  Galuppi. 

Burdett,  George  Albert,  orgt.  b.  Boston, 
June  17,  1856,  Trained  under  J.  W. 
Hill,  and  Paine  at  Harvard  where  he 
was  graduated  with  ' '  highest  musical 
honors"  in  1881;  studied  in  Germany 
under  Haupt  in  Berlin  and  at  Han- 
over; since  1895  orgt.  at  Central  Ch., 
Boston;  founder  of  Am.  Guild  of 
Orgts.,  first  dean  N.  E.  Chapter; 
published  anthems,  organ  music,  and 
pf.  pieces. 

Burgmuller  (bu  rg-mii  Her),  Johann 
Friedrich  Franz,  compr.  b.  Regens- 
burg,  1806;  d.  Beaulieu,  France, 
Feb.  13,  1874.  Composer  of  pf.  music 
mainly  for  young  people  and  useful 
early  studies  Brother  Norbert  (1810 
-1836),  composer  of  great  promise 
but  immature  achievement. 

Burgstaller,  Alois,  dram,  tenor,  b.  Holz- 
kirchen,  Sept.  27,  1871.  Pupil  of 
Kniese;  Bayreuth  1894-1901;  Metro- 
politan, N.  Y.,  1902-08,  first  Parsifal 
in  N.  Y.  1904. 

Bunneister  (bur-ml-ster),  Richard,  com- 
pr., pst.  b.  Hamburg,  Dec.  7,  1860. 
Studied  with  Liszt  in  •  Weimar, 
Budapest  or  Rome  1880^1883;  teach- 
er in  Hamburg  Cons;  director  of  pf. 
at  Peabody  Conservatory,  Balti- 
more, 1885-1897;  then  in  New 
York,  now  in  Europe;  a  brilliant 
pianist  and  compr.  of  skill;  has 
written  symph.  poem,  etc.,  re-scored 


BURMESTER 


BUSSLER 


Chopin's  F  minor  concerto,  added 
orch.  part  to  Liszt's  Concerto  Pathe- 
tique,  etc. 

Burmester,  Willy,  vlt.  b.  Hamburg, 
Mar.  16,  1869.  First  pupil  of  father, 
later  of  Joachim;  brilliant  player 
of  virtuoso  class;  made  debut  when 
a  child;  has  toured  since  1886;  in 
1890  conductor  at  Sondershausen ; 
greater  success  on  the  Continent  than 
in  England  or  America. 

Burnand,  A.  B.,  see  Strelezski,  Anton. 

Burney,  Charles,  writer,  b.  Shrews- 
bury, Apr.  12,  1726;  d.  Chelsea, 
Apr.  12,  1814.  Pupil  on  org.  of 
Baker  and  Arne;  orgt.  at  various 
provincial  stations;  Mus.  Doc.  Ox- 
ford 1769,  F.  R.  S.  1773;  composed 
music  for  few  dramas,  sonatas,  can- 
tatas, etc.,  adapted  The  Cunning 
Man  from  Rousseau's  Devin  du 
village.  Chief  works  are  Present 
State  of  Music  in  France  and  Italy, 
Present  State  of  Music  in  Germany, 
the  Netherlands,  etc.,  which  are 
accounts  of  his  own  tours,  and  his 
General  History  of  Music,  in  4 
volumes,  1776-89,  which  contains 
much  information  and  reflects  ad- 
mirably the  18th  century  point  of 
view. 

Burrowes,  John  Freckleton,  writer,  b. 
London,  Apr.  23,  1787;  d.  there, 
Mar.  31,  1852.  Pupil  of  Horsley; 
for  40  years  orgt.  in  London;  com- 
posed forgotten  instrumental  music; 
wrote  much  used  Piano  Primer. 

Burton,  Frederick  Russell,  compr.  b. 
Jonesville,  Mich.,  Feb.  23,  1861;  d. 
Sept.  30,  1909,  Lake  Hopatcong, 
N.  J.  Graduated  at  Harvard  1882; 
organizer  and  condr.  of  Choral 
Society  at  Yonkers,  N.  Y.;  mus.  crit. 
N.  Y.  Sun;  composer  of  Hiawatha, 
dramatic  cantata  based  on  actual 
Indian  themes,  as  result  of  special 
study. 

Busby,  Thomas,  writer.  b.  West- 
minster, Dec.,  1755;  d.  London, 
May  28,  1838.  Pupil  of  Knyvett 
and  Battishill;  orgt.  at  Newington. 
Composed  oratorio  The  Prophecy 
on  Pope's  Messiah  and  music  for 
other  odes  and  some  plays;  wrote 
several  musical  articles  and  essays, 
Dictionary  of  Music,  History  of 


Music  (compiled  from  Hawkins  and 
Burney),  and  3  volumes  of  Concert- 
room  and  Orchestra  Anecdotes,  of 
much  interest  about  contemporaries. 

Busch  (bush),  Carl,  compr.  b.  Bjerre, 
Denmark,  Mar.  29,  1862.  Studied 
at  Cons.,  vln.  with  Tofte,  comp.  with 
Hartmann  and  Gade;  played  in 
orch.  and  studied  in  Paris  under 
Godard  and  Gounod;  settled  in 
Kansas  City  1889;  established  Phil- 
harmonic Orch.  there;  composed 
works  for  orchestra,  symphonic 
rhapsody,  symphony,  vln.  music,  the 
dramatic  cantatas  League  of  the  Alps, 
King  Olaf,  and  songs. 

Busnois  (bii-no-a),  Antoine,  compr. 
b.  Picardy,  France;  d.  Bruges,  Nov. 
6,  1492.  Pupil  of  Okeghem,  musi- 
cian in  service  of  Charles  the  Bold; 
cited  as  authority  by  contemporary 
theorists;  2  magnificats,  a  mass, 
and  some  secular  songs  are  extant. 

Busoni  (bu-zo'-ni),  Ferruccio  (fer-ru- 
chi-o)  Benvenuto,  pst.,  compr.  b. 
Empoli,  near  Florence,  Apr.  1,  1866. 
Father  played  clarinet,  mother  (Anna 
Weiss)  pianist  gave  him  first  les- 
sons; d6but  Vienna. at  age  of  9, 
studied  there  with  Hans  Schmitt  and 
in  Graz  with  Remy  (Meyer);  at  17 
so  successful  in  Italy  that  a  medal 
was  struck  in  his  honor  by  Florence 
and  he  was  elected  a  member  of 
Accademia  Filarmonica  at  Bologna; 
1886  Leipzig;  teaching  Helsingfors 
1888;  at  Moscow  1890,  after  taking 
Rubinstein  prize;  at  Boston,  Mass. 
1891-93;  in  1894  located  in  Berlin; 
1908-1909  at  Vienna,  with  occa- 
sional tours;  about  1905  established 
Orchestral  Evenings  with  new  and 
seldom  heard  works  which  he 
conducts. 

Bussler,  Ludwig,  theorist,  b.  Berlin, 
Nov.  26,  1838;  d.  there,  Jan.  18, 
1901.  Son  of  Robert,  painter, 
author,  and  statesman,  grandson  of 
Karl,  singer;  choir  boy  under  Von 
Hertzberg;  taught  theory  by  Dehn 
and  Grell,  instrumentation  by  Wie- 
precht,  teacher  of  theory  at  Berlin. 
Theatre  conductor  there;  musical 
critic  for  National  Zeitung.  Has 
written  many  useful  books  on  har- 
mony and  composition,  several  of 
which  have  been  translated  into 
English. 


BUTT 


CADY 


Butt,  Clara,  contralto,  b.  Southwick, 
near  Brighton,  Eng.,  Feb.  1,  1873. 
Pupil  of  Rootham  at  Bristol;  1889 
of  J.  H.  Blower  at  Royal  Coll.  of 
Mus.,  where  she  gained  scholarship; 
de"but  London  1892;  studied  with 
Bouhy  at  Paris  1895;  voice  of  great 
depth  and  beauty  and  commanding 
stage  presence  have  made  her  much 
in  demand  for  festivals  and  concerts; 
many  compositions  written  for  her, 
among  them  Elgar's  Sea  Pictures. 
Married,  1900,  R.  Kennerley-Rum- 
ford,  baritone,  b.  London,  Sept.  2, 
1870.  Pupil  of  Henschel,  Beume,  and 
Sbriglia;  d6but  London  1893;  known 
as  fine,  really  artistic  singer. 

Butter  field,  James  Austin,  compr.  b. 
Hertfordshire,  Eng.,  May  18,  1837; 
d.  Chicago,  July  6,  1891.  Taught  by 
father,  a  'cellist,  learned  to  play  vln. 
before  10;  sang  in  Harm.  Soc.  of  town, 
where  he  studied  mus.  of  Handel's 
and  other  oratorios;  at  15  deputy 
leader  of  orch.;  parent's  refusal  to 
allow  him  to  follow  music  drove  him 
to  U.  S.,  where  he  settled  in  Chicago 
at  19;  taught  vln.  and  singing; 
induced  parents  to  emigrate;  pub- 
lished journal  in  Indianapolis;  taught 
in  Chicago  1867-80,  conducted  Chi- 
cago Jubilee  1873;  1880  director  of 
Norwich  (Conn.)  School  of  Vocal  Art; 
1888  returned  to  Chicago;  composed 
many  popular  songs  (When  You  and 
I  were  Young,  Maggie,  etc.),  conven- 
tion singing  books,  cantatas,  notably 
the  spectacular  Belshazzar. 


Buxtehude  (bux-te-hii-da),  Dietrich, 
orgt.,  compr.  b.  Helsingor,  Denmark, 
1637;  d.  Lubeck,  May  9,  1707. 
Father  Johann,  orgt.  died  1674,  may 
have  been  his  teacher;  1668  became 
orgt.  at  Marienkirche,  Lubeck,  and 
held  the  post  until  his  death;  1673 
organized  Abendmusiken,  concerts 
on  Sunday  afternoons  in  Advent  of 
concerted  pieces  for  chorus  and 
orchestra  and  organ  works.  These 
concerts  were  deservedly  famous  and 
widely  influential  (Bach  walked  50 
miles  to  hear  them).  As  composer, 
he  is  important  for  having  developed 
purely  instrumental  music,  even 
before  Bach,  in  his  organ  works  and 
clavier  pieces.  Many  of  the  clavier 
pieces  are  lost;  two  vols.  of  organ 
works  published  by  Spitta;  also  wrote 
a  large  number  of  vocal  works. 

Byrd,  William,  compr.  b.  London, 
Eng.,  1542  or  1543;  d.  there,  July  4, 
1623.  Said  to  have  been  pupil  of 
Tallis;  orgt.  at  Lincoln  Cathedral 
about  1563;  shared  post  of  orgt.  at 
Chapel  Royal  with  Tallis;  and 
these  two  also  held  patent  for  selling 
and  publishing  music;  held  his 
position  and  estates,  by  singular 
favor,  although  he  and  his  family,  as 
Catholics,  were  in  constant  danger 
of  prosecution.  Composed  madri- 
gals, masses,  and  services  for  the 
Catholic  ritual  as  well  as  a  collection 
of  music  for  the  virginal,  published 
in  the  Fitz  William  Virginal  book 
and  in  Lady  Nevill's  work. 


Cabezon,  Felix  Antonio  de,  orgt.,  harp- 
sichord player,  b.  Madrid,  Mar.  30, 
1510;  d.  there,  May  24,  1566. 
Blind  from  birth,  yet  eminent  per- 
former; chamber  musician  to  Philip 
II;  arranged  works  of  other  men 
for  his  instruments;  edition  of  his 
works  by  Pedrell  include  ricercari, 
motets,  exercises,  chiefly  for  organ. 

Caccini  (ka-che'-ni),  Giulio  [known  as 
Giulio  Romano],  compr.  b.  Rome, 
about  1550;  d.  Florence,  Dec.,  1618. 
Pupil  of  Scipione  della  Palla  in 
singing  and  lute  playing;  served 
Duke  of  Tuscany  as  singer  after 
1578;  followed  Galilei  in  composing 


for  single  voice;  then  composed  solos 
in  recitative  form,  performed  with 
great  success  in  houses  of  Bardi 
and  Corsi  in  Florence;  then,  after 
some  detached  dramatic  scenes,  col- 
laborated with  Peri  in  producing  the 
first  real  opera,  Euridice,  1600;  in 
treatise  Le  Nuove  Musiche  C.  ex- 
plains theory  of  recitative  on  which 
was  based  the  new  form  of  which  he 
was,  though  not  the  inventor,  an 
early  supporter. 

Cady,  Calvin  Brainard,  teacher,  b. 
Barry,  111.,  June  21, 1851.  His  father 
was  a  pioneer  minister  in  the  West, 
so  that  the  boy's  early  education 


CADMAN 

was  in  the  old-fashioned  country 
singing  school  and  convention 
choruses;  graduated  from  Oberlin 
(Ohio)  Conservatory  of  Music,  1872; 
went  to  Leipzig  and  studied  with 
Plaidy,  Paul,  Richter,  and  Papperitz; 
taught  music  in  public  schools  of 
Oberlin  1870;  teacher  of  piano  and 
harmony,  Oberlin  Conservatory, 
1874;  prof,  of  music,  University  of 
Michigan,  1880-88;  in  charge  of 
work  with  children  and  teachers, 
Chicago  Conservatory  of  Music, 
1888-1894;  lives  in  Boston,  head 
of  School  of  Music  Education,  and 
also  lectures  on  musical  pedagogy 
at  Institute  of  Musical  Art,  New 
York  and  Teachers'  College,  Co- 
lumbia University.  Author  of  a 
course  in  Music  Education,  in  three 
volumes,  and  Student's  Reference 
Work;  was  a  charter  member  of  the 
Music  Teachers'  National  Associa- 
tion, founded  in  1876.  The  main 
object  of  his  professional  labor  is 
"  to  establish  music  as  a  genuinely 
educational  subject  and  to  bring  out 
its  correlation  with  other  major 
subjects  of  study." 

Cadman,  Charles  Wakefield,  compr.  b. 
Johnstown,  Pa.,  Dec.  24,  1881; 
moved  to  Pittsburg  1884;  musical 
education  under  Pittsburg  teachers, 
Walker,  Steiner,  Oehmler  and  Von 
Kunits,  with  advice  and  criticism 
from  Emil  Paur;  first  published 
compositions,  semi-popular  style,  in 
1898;  became  interested  in  the 
music  of  the  American  Indians  and 
spent  considerable  time  among  them, 
securing  material  for  use  in  com- 
position and  in  a  lecture  recital 
American  Indian  Music  Talk;  organ- 
ist East  Liberty  Presbyterian  Church 
and  musical  critic  of  Pittsburg  Dis- 
patch; contributor  to  musical  peri- 
odicals; published  works  include 
The  Vision  of  Sir  Launfal,  male 
voices,  Four  American  Indian  Songs, 
song  cycles  The  Morning  of  the  Year, 
Sayonara,  Three  Moods  for  orchestra, 
organ  pieces,  songs,  part-songs  and 
piano  pieces;  lives  in  Pittsburg. 

Caffarelli  (kaf-fa-rel'-li),  [pseud,  of  Gae- 
tano  Majorano],  singer.  b.  Bari, 
Naples,  Apr.  16,  1703;  d.  Santo 
Dorato,  near  Naples,  Feb.  1,  1783 
[Eitner;  others  give  Nov.  30,  1783]. 
Son  of  peasants,  adopted  name  C. 


CALLCOTT 

in  gratitude  to  Caffaro  or  Cafaro, 
who  first  aided  him;  studied  five 
years  with  Porpora;  debut  Rome 
1724,  followed  by  brilliant  success 
in  Italy  and  Paris;  appearances  in 
London  1737-38  seem  to  have  been 
disappointing;  purchased  dukedom 
and  title  of  Santo  Dorato;  rival  of 
Farinelli  whom  some  say  he  excelled 
in  slow  airs  and  chromatic  scales; 
many  stories  are  told  of  his  ridiculous 
vanity  and  presumptuous  pride. 

Caldara  (kal-da'-ra),  Antonio,  compr. 
b.  Venice,  about  1670;  d.  Vienna, 
Dec.  28,  1736.  Chorister  at  St. 
Mark's;  pupil  of  Legrenzi;  held 
various  posts  in  Italy  and  Spain 
before  becoming  vice-capellmeister 
in  Vienna  under  Fux;  composed 
dignified  church  music,  showing 
florid  tendency  of  times;  very  pro- 
lific, having  written  36  oratorios,  66 
operas,  besides  smaller  works. 

Caldicott,  Alfred  James,  compr.  b. 
Worcester,  Eng.,  Nov.  26,  1842;  d. 
near  Gloucester,  Oct.  24,  1897. 
Chorister  Worcester  Cath.,  articled 
pupil  of  Done;  studied  at  Leipzig 
Cons,  under  Moscheles,  Hauptmann, 
etc.;  orgt.  in  Worcester,  teacher  of 
harmony  at  Royal  Coll.,  and  director 
at  Albert  Hall  and  theatres  in 
London;  composed  cantatas  (Widow 
of  Nain  1881),  operettas,  part-songs. 

Caletti-Bruni,  see  Cavalli,  Francesco. 

Calkin,  John  Baptiste,  orgt.,  compr.  b. 
London,  Mar.  16,  1827;  d.  Apr.  15, 
1905.  Pupil  of  father  James  C.;  orgt. 
and  precentor  in  several  churches; 
teacher  at  Guildhall  School  of  Music; 
composed  anthems,  glees,  etc. 

Callaerts  (kal'-lar-ts') ,  Joseph  [Jacques], 
orgt.  b.  Antwerp,  Aug.  22,  1838;  d. 
there,  Mar.  3,  1901.  Pupil  of  Lem- 
mens  at  Brussels  Cons.;  orgt. at  Jesuit 
College  1851-56;  later  of  cathedral  at 
Antwerp  and  teacher  of  org.  at  music 
school;  composed  comic  opera,  sym- 
phony, cantata,  masses,  etc. 

Callcott,  John  Wall,  compr.  b.  Ken- 
sington, Nov.  20,  1766;  d.  Bristol, 
May  15,  1821.  Son  of  builder,  first 
intended  to  be  surgeon;  learned 
music  from  observation  and  ac- 
quaintance with  Henry  Whitney, 
orgt.  at  Kensington,  Arnold,  Cooke 
and  Sale,  without  receiving  any 


CALV£ 


CAMPANINI 


regular  instruction;  member  of  orch. 
of  Academy  of  Ancient  Music;  com- 
posed for  Catch  Club  in  1789,  win- 
ning all  four  prizes  offered  by  them; 
studied  instrumental  music  under 
Haydn  1791;  Mus.  Doc.  Oxford  1800; 
began  a  dictionary,  published  Musi- 
cal Grammar  1806;  mind  failed  1807; 
chief  works  glees.  His  son  William 
Hutchins  C.  (1807-1882)  also  compr., 
chiefly  of  anthems,  and  his  grandson 
William  Robert  Stuart  C.  (1852-1886) 
orgt.  of  great  promise. 

Calve  (kal-va),  Emma,  dram.  sop.  b. 
Aveyron,  1864  [1866?].  Real  name  de 
Roquer;  daughter  of  simple  peas- 
ants; educated  at  convent  in  Mont- 
pellier;  left  at  15,  renouncing  relig- 
ious aspirations  to  help  support 
family;  after  study  in  Paris  under 
Puget's  direction,  made  concert 
debut  at  charity  concert,  Nice,  1881, 
in  place  of  Cruvelli;  debut  Brussels 
1882;  after  year's  study  with 
Marchesi  made  Paris  de"but  at  Th. 
Italien,  Dec.  16,  1884;  sang  at 
Ope>a  Comique  1884-86  and  in 
Milan  without  great  success;  after 
more  study  in  Paris  with  Mme. 
Laborde,  created  Santuzza  in  Cav- 
alleria  Rusticana  1890,  returned  to 
Opera  Comique,  singing  her  great 
part,  Carmen,  first  in  1892;  ap- 
peared in  London  and  New  York 
1893,  toured  Russia  and  Spain 
1894-95;  created  parts  in  La  Navar- 
raise  1894  and  Sapho  1897;  not 
only  singer  of  wide  and  well-founded 
popularity,  but  actress  of  unusual 
originality,  as  is  shown  in  Carmen 
and  Marguerite. 

Cambert  (kon'-bar'),  Robert,  compr. 
b.  Paris,  1628;  d.  London,  1677. 
Pupil  of  Chambonnieres;  orgt.  at 
St.  Honore",  intendant  of  music  to 
Anne  of  Austria;  composed  La 
pastorale,  first  French  opera  after 
Italian  fashion,  1659;  when  Perrin 
received  letters  patent  for  establish- 
ing national  opera  in  1669  Cambert 
was  associated  with  him;  comppsed 
Pomone  1671,  and  other  works;  after 
32  years,  driven  from  France  by 
intrigues  of  Lully,  he  became  master 
of  music  to  Chas.  II  of  England. 

Camp,  John  Spencer,  orgt.,  compr.  b. 
Middletown,  Conn.,  Jan.  30,  1858. 
Graduated  Wesley  an  Univ.  1878; 


studied  mus.  with  Parsons,  Shelley, 
Buck  and  Dvorak;  dir.  Hartford 
(Conn.)  Philh.  Orch.;  orgt.  and 
choirmaster  1st  Cong.  Ch.,  Hartford; 
founder  Guild  of  Organists;  com- 
posed cantatas,  orch.  works,  string 
qt.,  pf.  and  organ  pieces,  songs, 
anthems  and  services. 

Campagnoli  (kam-pan-yo-li),  Barto- 
lomeo,  vU.  b.  Cento,  Sept.  10, 
1751;  d.  Neustrelitz,  Nov.  6,  1827. 
Pupil  of  Dall'  Ocha,  Guastarobba, 
and  Nardini;  led  various  bands  in 
Italy,  finally  conductor  at  Gewand- 
haus,  Leipzig,  1797-1815;  gave  suc- 
cessful concerts  in  Italy;  friend  of 
Cherubini. 

Campana  (kam-pa'-na),  Fabio,  compr., 
singing  teacher,  b.  Leghorn,  Jan.  14, 
1819;  d.  London,  Feb.  2,  1882. 
Educated  at  the  Liceo  in  Bologna; 
produced  several  unsuccessful  operas; 
settled  in  London  about  1850; 
taught  singing  there  and  produced 
operas  Almina  1860  and  Esmeralda 
1869  which  seem  to  have  been 
successful  more  because  of  the  casts 
than  the  music. 

Campanari  (kam-pa-na'-ri),  Giuseppe, 
dram,  baritone,  b.  Veneto,  Italy, 
1859.  First  a  'cellist  in  orch.  at 
La  Scala,  Milan,  and  in  Boston 
Symph.  Orch.  until  1893,  when 
he  definitely  became  opera  singer; 
member  of  Hinrichs  Opera  Co.,  of 
Metropolitan  after  1899;  successful 
in  many  concerts;  now  living  in  New 
York.  His  brother,  Leandro,  vlt. 
b.  Rovigo,  Oct.  20,  1857.  Studied  at 
Milan  Cons.;  after  European  tours, 
made  American  d6but  with  Bost. 
Symph.  Orch.  1881;  teaching  and 
playing  as  member  of  orch.  in  Boston 
until  1887;  teacher  in  Cincinnati 
College  of  Music  1890-97;  director 
and  concert-conductor  at  Milan;  has 
written  text-books  and  songs. 

Campanini  (kam-pa-ne'-ni),  Italo,  dram . 
tenor,  b.  Parma,  June  29,  1846. 
d.  Vigatto,  near  Parma,  Nov.  22, 
1896.  Studied  at  school  of  Griffini, 
and  at  Cons,  of  Parma;  debut,  1869, 
Odessa;  after  study  with  Lamperti, 
won  success  at  production  of  Lohen- 
grin at  Florence  1871;  sang  in 
London  1872-1882;  toured  America, 
lived  several  years  in  New  York. 


CAMPRA 


CARL 


Campra  (kon-pra),  Andre,  opera  compr. 
b.  Aix,  Dec.  4,  1660;  d.  Versailles, 
July  29,  1744.  Pupil  of  Guillaume 
Poitevin;  master  of  music  Toulon 
Cathedral  1680,  at  Aries  1681, 
at  Toulouse,  1683-1694;  thence 
he  went  to  Paris,  filling  several 
church  appointments,  leaving  to 
begin  a  secular  career  as  opera  com- 
poser; conductor  Royal  Orchestra 
1722;  he  wrote  18  works  for  the 
stage,  a  number  of  cantatas  and 
motets. 

Cannabich,  Christian,  vlt.,  condr.  b. 
Mannheim,  1731;  d.  Frankfort, 
Feb.  22,  1798.  Son  of  Matthias, 
flute  player;  pupil  of  Stamitz  and 
in  Italy  of  Jommelli;  leader  of  orch. 
at  Munich  1765;  condr.  at  Mann- 
heim 1775;  by  bringing  this  orch.  to 
then  unequalled  height  of  exactness 
he  raised  standard  of  expressive 
power;  friend  and  admirer  of 
Mozart;  successful  teacher;  compr. 
of  some  popular  symphonies  and 
quartets. 

Cantor,  Otto,  compr.  b.  Kreuznach, 
Prussia,  1857.  Pupil  of  Lux,  Mann- 
stadt,  and  Rupp;  living  in  London; 
compr.  vocal  music. 

Capocci  (ka-pot'-chi),  Gaetano,  orgt. 
b.  Rome,  Oct.  16,  1811;  d.  there, 
Jan.  11,  1898.  Pupil  of  Sante 
Pascoli,  Fioravanti,  and  Cianciarelli; 
orgt.  at  S.  Maria  Maggiore,  and, 
after  1855,  director  at  the  Lateran; 
published  large  amount  of  facile, 
conventional  church  music.  His  son 
Filippo,  also  orgt.  b.  Rome,  May  11, 
1840.  Learned  org.  and  harmony 
from  father  whom  he  succeeded  at 
the  Lateran  1875;  under  influence 
of  Guilmant  developed  technique 
to  degree  which  has  won  him  fame; 
compositions,  original,  and  modern 
in  idea,  consist  of  organ  works  and 
an  oratorio. 

Capoul  (ka-pol),  Joseph  Amedee  Vic- 
tor, dram,  tenor,  b.  Toulouse,  Feb. 
27,  1839.  Pupil  at  Paris  Cons,  of 
R£vial,  and  Mocker  under  whom 
gained  1st  prize  in  light  opera; 
d6but  1861  at  Ope>a  Comique,  where 
he  stayed  until  1872;  sang  in  Eng- 
land 1871-75,  and  Am.  1879-80; 
prof,  of  operatic  singing  in  Nat'l 
Cons.  N.  Y.;  now  stage  director  at 
Paris  Ope>a. 


Caracciolo  (ka-ra-chi-6'-lo) ,  Luigi  Maria, 
compr.,  teacher,  b.  Andria,  Bari, 
Aug.  1,  1847;  d.  London,  July  22, 
1887.  Pupil  of  Cesi,  Conti,  and 
Mercadante  at  Naples  Cons. ;  teacher 
in  Dublin  1878-1881,  and  London; 
comp.  opera  and  many  popular  songs 
(  Un  Sogno  fu!,  etc.). 

Carestini  (ka-res-te'-ni),  Giovanni  [call- 
ed Cusanino],  singer,  b.  Monte 
Filatrano,  Ancona,  about  1705;  d. 
there,  1760.  At  age  of  12,  Cusani 
family  at  Milan  became  patrons, 
hence  his  stage  name;  debut  Rome 
1721;  sang  at  various  places  in 
Italy  until  1733,  when  he  made 
English  d6but.  Engaged  by  Handel 
from  1735  when  he  left  England  to 
retirement  in  1758;  sang  with  brill- 
iant success  at  Venice,  Berlin,  St. 
Petersburg,  etc.  Voice  at  first 
soprano,  became  strong,  deep  con- 
tralto of  wide  range. 

Carey,  Henry,  compr.  b.  about  1690; 
d.  London,  Oct.  4,  1743.  Reputed 
son  of  Marquis  of  Halifax;  mostly 
self-taught,  though  he  had  lessons 
from  Linnert,  Roseingrave,  and 
Geminiani;  taught  and  wrote  music 
for  farces,  and  also  words  to  some 
for  which  Lampe  wrote  music — 
chiefly  burlesques  and  ballad  operas; 
claim  that  he  wrote  God  save  the 
King  has  never  been  proved  or 
disproved;  his  greatest  work  is 
charming,  original  ballad,  Sally  in 
our  Alley. 


Carissimi  (ka-ris'-se-me),  Giacomo,  com-*, 
pr.  b.  Marino,  near  Rome,  about 
1604;  d.  Rome,  Jan.  12,  1674. 
Maestro  at  Assisi  1624—28,  and  at 
S.  Apollinare,  Rome,  1628-1674; 
among  his  pupils  were  A.  Scarlatti, 
Kerll,  Bernnard,  M.  A.  Charpentier; 
though  many  of  his  works  are  lost, 
it  is  known  that  he  contributed 
largely  to  the  development  of 
recitative  with  a  more  expressive 
and  varied  accompaniment  than 
that  of  his  predecessors;  his  cantatas 
show  that  he  transferred  to  church 
music  the  pathetic  emotional  style 
of  dramatic  music;  his  fluent  melo- 
dies are  among  the  earliest  examples 
of  characteristic  Italian  song. 

Carl,  William  Crane,  orgt.  b.  Bloom- 
field,  N.  J.,  Mar.  2,  1865.  Pupil  of 
S.  P.  Warren,  Mme.  Schiller  (pf.) 


CARMICHAEL 


GARY 


and  Guilmant;  orgt.  in  N.  J.  and 
N.  Y.;  founder  of  Am.  Guild  of 
Orgts.;  successful  concert  player; 
compiled  collection  of  org.  mus. 

Carmichael,  Mary  Grant,  pst.,  compr. 
b.  Birkenhead,  Eng.  Studied  under 
O.  Beringer,  W.  Bache,  Hartvigspn, 
and  Prout;  excellent  accompanist; 
composed  many  songs,  The  Stream 
song-cycle,  Snow  Queen  operetta; 
translated  Ehrlich's  Celebrated  Pian- 
ists and  other  works. 

Caron  (ka-ron),  Rose  [Lucile,  nee 
Meuniez],  dram.  sop.  b.  Monerville, 
France,  Nov.  17,  1857.  Married 
before  entering  Paris  Cons,  in  1880; 
studied  there  until  1882,  taking 
minor  prizes,  also  with  Sasse  in 
Brussels;  d£but  Brussels  1882;  from 
then  to  1900  sung  there  and  in  Paris; 
1902  prof,  of  singing  at  Cons. 

Carr,  Frank  Osmond,  compr.  b.  York- 
shire about  1857.  Mus.  Doc.  Oxford 
1891;  composed  farces  and  success- 
ful comic  operas  Morocco  Bound 
1893,  His  Excellency  1894  (book 
by  W.  S.  Gilbert). 

Carre  (kar-ra),  Albert,  director,  b. 
Strassburg,  June  22,  1852.  Studied 
at  Strassburg  Lycee;  actor  in  Paris; 
director  of  several  Paris  theatres, 
finally  1898  of  Opera  Comique, 
where  he  has  brought  forth  a  dis- 
tinguished series  of  new  and  im- 
portant operas. 

Carrefio  (kar-ra'-nyo),  Teresa,  pst.  b. 
Caracas,  Venezuela,  Dec.  22,  1853. 
Father,  Minister  of  Finance,  her 
first  teacher;  afterward  studied 
with  L.  Gottschalk  in  New  York, 
with  G.  Mathias  in  Paris,  and  with 
Rubinstein;  after  d6but  and  tour 
at  age  of  9,  gave  concerts  until 
about  1875  when  she  went  on  the 
stage;  on  tours  with  opera  com- 
panies, she  played,  sang,  and,  at 
one  time,  conducted;  resumed  work 
as  concert  pst.  1889;  married  E. 
Sauret  1872,  G.  Tagliapietra  1892,  E. 
d'  Albert  1895,  and  A.  Tagliapietra 
1902;  composed  Venezuelan  national 
anthem,  string  quartet  and  piano 
pieces;  known  as  a  strong,  virile 
performer,  with  masterly  technic; 
E.  A.  MacDowell  her  pupil.  Daugh- 
ter Teresita  Carrefio  Tagliapietra, 
also  pst.,  debut  1906. 


Carrodus,  John  Tiplady,  vlt.  b.  Braith- 
waite,  Yorkshire,  Jan.  20,  1836;  d. 
London,  July  13,  1895.  Father  violin 
player  and  leader  of  amateur  society; 
C.  for  6  years  pupil  of  Molique; 
member,  for  many  years  leader,  of 
Coven  t  Garden  orch.;  also  leader 
of  Philharmonic  Orch.;  leader,  with 
Wilhelmj,  at  Wagner  Festival  1877; 
excellent  teacher,  at  National  Train- 
ing School  for  Mus.,  etc.;  recitals  in 
England  and  S.  Africa;  pioneer  of 
classical  mus.  in  Eng. 

Carulli  (ka-rul'-le) ,  Ferdinando,  guitar 
player,  b.  Naples,  Feb.  10,  1770; 
d.  Paris,  Feb.,  1841.  Self-taught, 
he  worked  out  modern  methods  of 
guitar  playing,  and  attained  remark- 
able technic;  lived  in  Paris  after 
1808,  teaching,  playing;  composed 
more  than  300  pieces,  and  method. 

Caru'so  (ka-ru-zo),  Enrico,  dram,  tenor. 
b.  Naples,  Feb.  25,  1873.  Son  of 
a  mechanic,  and  brought  up  to 
father's  trade;  as  choir  boy  pupil 
of  Vergine,  and  later  of  Lamperti 
and  Concone;  after  singing  at 
Caserta,  made  Naples  debut  1896; 
began  career,  Milan,  1898;  success- 
ful seasons  at  St.  Petersburg,  Buenos 
Ayres,  Milan,  and  Monte  Carlo 
followed;  first  appearance  London 
and  New  York  1903;  though  not 
distinguished  as  an  actor,  C.  has  a 
powerful  and  rich  voice,  especially 
suited  for  brilliant  performance  of 
Italian  opera,  both  old  and  new. 

Carvalho  (kar-va-lo),  [really  Carvaille], 
Arthur  Leon,  opera  manager,  b. 
Port  Louis,  He  de  France,  Jan.  18, 
1825;  d.  Paris,  Dec.  29,  1897. 
Educated  at  Paris  Cons.;  played 
small  parts  at  Ope>a  Comique, 
manager  of  other  theatres  and  of 
Ope>a  Comique  from  1876  to  time 
of  fire  in  1887,  after  which  he  was 
tried  and  condemned  to  prison  but 
acquitted  on  appeal  and  reinstated 
1891 .  Married  in  1853  Marie  Caroline 
Felix-Miolan,  dram.  sop.  b.  Mar- 
seilles, Dec.  31,  1827;  d.  Puys,  July 
10,  1895.  Entered  Paris  Cons.  1839, 
first  prize  in  1847;  d£but  1850;  favor- 
ite at  Op6ra  Comique  from  1872-75, 
1879-85;  at  Opera  1875-79. 

Gary,  Annie  Louise,  contralto.  b. 
Wayne,  Me.,  Oct.  22,  1842.  Studied 
after  1859  with  Wetherbee  and 


CASALS 


CAVALIERI 


Wheeler  in  Boston  and  with  Corsi  in 
Milan;  de"but  Copenhagen  1867, 
sang  in  Scandinavia  2  years,  study- 
ing in  vacations  with  Viardot- 
Garcia;  after  further  study  in  Paris 
with  Strakosch  and  Bottesini,  came 
to  U.  S.  for  3  years  in  1870;  extreme- 
ly popular  in  opera  and  concerts  in 
America,  in  London,  and  St.  Peters- 
burg; married  C.  M.  Raymond 
and  retired  1882;  now  living  (1910)  in 
Norwalk,  Conn. 

Casals  (ka-zal'),  Pablo,  'cellist,  b. 
Veudrell,  Catalonia,  Spain,  Dec.  30, 
1876.  Pupil  of  father  on  ore.; 
studied  pf.,  vln.,  and  clarinet;  'cello 
with  Jose"  Garcia  in  1887;  on  pension 
from  the  queen,  studied  at  Madrid 
with  Jesus  de  Monasterio  and  Tomds 
Breton;  prof,  of  'cello  at  Barcelona 
Univ.;  founded  chamber  music 
society  there;  member  Paris  OpeYa 
Orch.  1895-98;  de"but  as  soloist  1898; 
member  of  Lamoureux  Orch.  1900; 
concert  tours  in  Europe,  U.  S.  1901 
and  1903,  and  S.  America;  published 
symphonic  poems,  works  for  org. 
and  'cello. 

Castil-Blaze,  see  Blaze,  F.  H.  J. 

Castle,  William,  opera  tenor,  b.  Eng., 
Dec.  22,  1836;  d.  Chicago,  March  31, 
1909;  studied  in  N.  Y.,  London  and 
Milan;  de"  but  1858;  in  concert  1861; 
retired  from  stage  1891;  director 
of  opera  dept.  Chicago  Musical 
College;  best  known  for  his  work 
in  Maritana,  Bohemian  Girl,  Fra 
Diavolo,  II  Trovatore  and  The  Hugue- 
nots. 

Castrucci  (kas-tru'-chi),  Pietro,  vlt. 
b.  Rome,  1689;  d.  Dublin,  Mar.  7, 
1752  [according  to  records  quoted 
Mits.  Times,  Oct.,  1904;  others  give 
Rome,  1769].  Pupil  of  Corelli; 
came  to  London  1715;  leader  of 
Handel's  opera  orch.  1718;  invented 
and  played  on  violetta  marina,  like 
viola  d'amore;  composed  vln.  con- 
certos and  sonatas;  forced  out  of 
place  by  Handel,  who  wrote  a 
concerto  with  a  second  part  so 
difficult  that  Clegg's  execution  mor- 
tified C.;  died  in  great  want. 

Catalani  (ka-ta-la'-ni),  Alfredo,  compr. 
b.  Lucca,  June  19,  1854;  d.  Milan, 
Aug.  7,  1893.  Early  composed  for 
church;  studied  at  Paris  Cons,  and 


at  Milan;  composed  5  operas 
(Dejanire  and  La  Watty  especially 
successful),  symph.  poem  Ero  e 
Leandro. 

Catalani,  Angelica,  dram.  sop.  b. 
Sinigaglia,  May  10,  1780;  d.  Paris, 
June  12,  1849.  Taught  at  convent 
of  Santa  Lucia  at  Gubbio;  d6but  at 
Venice  1795;  sang  with  success  at 
Milan  and  other  Italian  cities,  at 
Lisbon  1804,  where  she  married 
Valabregue;  tremendous  popular 
success  in  London  1806-1813;  man- 
aged Theatre  Italien  in  Paris  1814- 
1817,  with  neither  artistic  nor 
financial  success;  until  retirement 
1827  sang  in  concerts  throughout 
Europe;  voice  was  of  extraordinary 
strength  and  range,  she  excelled  in 
chromatic  scales  and  bravura  pas- 
sages, and  was  accused  of  lack  of 
expressiveness  and  over-ornamen- 
tation; earned  large  sums  of  money, 
which  she  scattered  in  charity  and 
extravagant  living. 

Catel  (ka-tel'),  Charles  Simon,  compr. 
b.  L'Aigle,  Orne,  France,  June  10, 
1773;  d.  Paris,  Nov.  29,  1830. 
Studied  under  Sacchini,  Gobert,  and 
Gossec  in  Ecole  Royale,  which  be- 
came Paris  Cons.;  accompanist  and 
teacher  there;  accomp.  at  Opera 
1790;  prof,  of  harmony  at  Cons,  when 
founded  1795,  inspector  1810-14; 
wrote  military  music  for  Garde 
Nationale,  of  which  he  was  director, 
and  pieces  for  Revolutionary  occa- 
sions; wrote  11  operas  1802-1819, 
Les  bayaderes  best  known,  none 
especially  successful;  treatise  on 
harmony,  for  some  time  standard. 

Cavaille-Coll  (ka-va-ya-kol'),  Aristide, 
org.  builder,  b.  Montpellier,  Feb. 
2,  1811;  d.  Paris,  Oct.  13,  1899. 
Son. of  Dom.  Hyacinthe  [1771-1862] 
also  org.  builder;  came  to  Paris 
1833;  built  orgs.  at  St.  Denis,  St. 
Sulpice,  Madeleine,  and  other  fa- 
mous churches  in  France,  Holland, 
etc.;  invented  improvements  and 
wrote  some  articles. 

Cavalieri  (ka-val-i-a'-ri),  Emilio  del, 
compr.  b.  Rome,  about  1550;  d. 
Florence,  Mar.  11,  1602.  Inspector 
of  arts  under  Fernando  de  Medici; 
one  of  earliest  to  support  music  for 
voice  with  harmonic  instrumental 
accomp.,  stilo  rappresentivo,  and  to 


CAVALLI 


CHADWICK 


use  figured  bass;  his  Rappresenta- 
zione  di  Anima  e  di  Corpo,  1660, 
regarded  as  first  oratorio;  contrib- 
uted largely  to  development  of 
opera;  wrote  4  operas. 

Cavalli  (ka-val-li),  Pietro  Francesco, 
compr.  b.  Cremo,  Venice,  1599  or 
1600;  d.  Venice,  Jan.  14,  1676. 
Real  name  Caletti-Bruni,  Cavalli 
name  of  patron;  singer  at  St. 
Mark's  under  Monteverde;  organist 
there;  wrote  many  operas  (27 
extant),  of  greater  expressive  and 
rhythmic  force  than  those  of  Monte- 
verde; orgt.  of  merit  and  compr.  of 
valued  church  music. 

Cecilia,  Saint,  martyred  Rome,  about 
229.  Despite  religious  vows  com- 
pelled to  marry  Valerianus,  she 
converted  him  and  his  brother  to 
Christianity;  all  three  put  to  death; 
church  built  on  site  of  her  house 
about  821;  though  early  writers 
make  no  mention  of  her  musical 
skill,  C.  has  been  patron  saint  of 
art  since  very  early  in  16th  century; 
celebrations  of  her  day,  Nov.  22 
(in  Normandy  by  Puys,  or  contests, 
in  England  by  specially  written  odes, 
in  France  by  newly  composed 
masses),  have  called  forth  much 
famous  music. 

Cederstrom,  see  Patti,  Adelina. 

Cellier  (sel-ia),  Alfred,  compr.,  condr. 
b.  Hackney,  London,  Dec.  1,  1844; 
d.  London,  Dec.  28,  1891.  Son  of  a 
French  teacher,  chorister  under 
Helmore;  orgt.  at  2  churches;  condr. 
at  Belfast,  Manchester,  and  London 
(Opera  Comique  1877-79  and  Prom- 
enade Concerts,  with  Sullivan,  1878- 
79);  wrote  several  operas,  greatest 
successes  Dorthy  1886,  and  The 
Mountebanks;  lived  in  America  and 
Australia,  London  after  1887. 

Cesi  (cha-ze),  Beniamino,  pst.  b. 
Naples,  Nov.  6,  1845;  d.  1907. 
Studied  at  Naples  Conservatory 
under  Mercadante  and  Pappalardo; 
private  lessons  from  Thalberg;  prof, 
there  after  1866;  concerts  in  Italy, 
France,  Egypt;  wrote  pf.  pieces, 
songs,  method,  unpublished  opera. 

Cesti  (chas'-ti),  Marc  Antonio,  compr. 
b.  Florence,  1620;  d.  Venice,  1669. 
Pupil  of  Carissimi;  maestro  di 


capella,  Florence,  1646;  member  of 
Papal  Choir  1660;  vice-capellmeis- 
ter  Vienna  1666.  Though  an  eccle- 
siastic, some  say  a  Franciscan,  wrote 
several  operas  of  which  it  has  been 
said  that  he  improved  the  monoton- 
ous style  of  operas  by  introducing 
adapted  church  music;  best  known 
operas  are  La  Dori  and  II  porno  d'oro. 

Chabrier  (sha-bri-a),  Alexis  Emmanuel, 
compr.  b.  Ambert,  Jan.  18,  1841; 
d.  Paris,  Sept.  13,  1894.  While 
studying  and  practising  law  studied 
pf.  with  Wolff  and  harmony  with 
Hignard,  but  was  mostly  self- 
taught;  devoted  himself  to  music 
after  1879;  chorusmaster  under 
Lamoureux  1884-85;  wrote  2  suc- 
cessful operettas,  2  operas,  Gwendo- 
line 1886  and  Le.roi  malgre  lui  1887, 
one  unfinished  opera  Briseis  1899, 
pf.  pieces,  and  widely  known  orch. 
rhapsody  Espana;  during  last  years 
brain  was  diseased;  ardent  admirer 
of  Beethoven  and  Wagner,  whose 
works  he  helped  introduce  into 
France;  his  own  music  shows  skill 
in  orchestration  and  strong,  original 
sense  of  rhythm  and  color,  at  times 
leading  to  extravagance  and  at  other 
times  to  beauty  and  delicacy. 

Chadwick,  George  Wnitefield,  compr. 
b.  Lowell,  Mass.,  Nov.  13,  1854.  His 
family,  though  of  musical  tastes,  did 
not  encourage  adopting  music  as  a 
profession,  and  his  studies  with  his 
brother,  Dudley  Buck,  Geo.  Whit- 
ing, and  Eugene  Thayer  were  carried 
on  coincidently  with  public  school 
education  and  office  work  up  to 
1876,  when  he  became  head  of 
musical  department  of  Olivet  Col- 
lege, Mich.  In  one  year  he  saved 
enough  to  go  to  Leipzig  where  he 
studied  at  Cons,  with  Reinecke  and 
Jadassohn  and  in  1879  with  Rhein- 
berger  at  Munich.  In  1880  came 
to  Boston,  taught  composition  at 
N.  E.  Cons.,  of  which  he  became 
director  in  1897;  conducted  Boston 
Orch.  Club,  Springfield  Festivals, 
Worcester  Festivals;  orgt.  Second 
Church.  As  a  teacher  C.  had  great 
influence,  among  his  pupils  having 
been  H.  W.  Parker,  Wallace  Good- 
rich, H.  K.  Hadley,  etc.;  he  has 
written  a  text-book  on  harmony, 
and  as  director  has  introduced  in 
the  N.  E.  Cons,  the  high  standards 


CHAMBERLAIN 


CHARPENTIER 


and  something  approaching  the 
"  atmosphere  "  of  foreign  schools. 
As  a  composer  he  has  been  most 
versatile;  in  the  larger  forms  his 
comic  opera  Tabasco  (1894)  was 
widely  successful,  the  lyric  drama 
Judith,  given  as  an  oratorio  1901, 
with  its  graphic  orchestration  is  his 
most  ambitious  work,  but  his  over- 
tures, string  quartets,  esp.  E  minor, 
and  F.  symph.  most  widely  known 
and  most  admired  of  his  instrumental 
works.  One  of  the  most  celebrated 
American  composers,  C.  gives  typ- 
ical expression  to  the  qualities  of 
American  music  in  the  deliberate- 
ness,  learning,  and  wide  variety  of 
his  work. 

Chamberlain,  Houston  Stewart,  writer. 
b.  Portsmouth,  Eng.,  Sept.  9,  1855. 
Son  of  naval  officer,  educated  in 
France  and  at  Cheltenham;  student 
of  natural  science  and  philosophy 
at  German  univ.;  living  in  Vienna 
since  1881;  admirer  of  Germanic 
civilization,  and  of  Wagner,  he  has 
written  articles  in  several  languages, 
and  studies  of  principle  in  Das 
Drama  R.  Wagners  and  Richard 
Wagner  1897.  Married  a  daughter 
of  Wagner. 

ChambonniSres  (shon-bon-ni-ar'), 
Jacques  Champion  de,  harpsichord 
player,  b.  about  1600;  d.  1670. 
Father  Jacques  and  grandfather 
Antoine  distinguished  orgts.;  C. 
first  harpsichord  player  to  Louis 
XIV;  Anglebert  and  elder  Couper- 
ins  his  pupils;  playing  excelled 
in  delicacy  of  touch;  compositions 
praised  for  correctness  of  style,  ele- 
gance of  melody,  and  appropriate- 
ness of  ornaments. 

Chaminade  (sham-i-nad') ,  Cecile 
[Louise  Stephanie],  pst.,  compr.  b. 
Paris,  Aug.  8,  1861.  Pupil  of  Le- 
couppey,  Savart,  Marsick,  and  God- 
ard.  Since  d£but  at  18  she  has  won 
distinction  as  virtuoso  in  France 
and  England;  her  compositions 
include  Callirhoe  (ballet-symph.), 
Les  Amazones  ( symph.  lyrique), 
popular  Concertstuck  for  pf.  and  orch., 
and  many  agreeable  songs  and  pf. 

Eieces  (Scarf  Dance,  etc.)  which  show 
er    charming    talent    better    than 
larger  works;   made  tour  of  U.  S. 
as  pst.  1908. 


Chanot  (sha-no),  Francois,  vln.-maker. 
b.  Mirecourt,  1787;  d.  Brest,  1823. 
Son  of  vln.-maker,  entered  army  as 
engineer;  during  temporary  retire- 
ment, made  vln.  of  a  new  model 
shaped  like  guitar,  without  sound- 
post,  based  on  theory  that  fiber  of 
wood  should  be  kept  as  long  as 
possible  to  increase  vibratory  power; 
mstr.  was  pronounced  by  Institut  de 
France  1817  not  inferior  to  most 
famous  vlns.,  but  decision  not  sup- 
ported by  quality  of  other  vlns.  on 
same  model  made  by  C's  brother 
Georges  (1801-18), skilful  vln.-maker. 
G's  wife,  nee  Florentine  Demoliens, 
also  vln.-maker,  assisted  him  in  his 
work. 

Chapman,  William  Rogers,  condr.  b. 
Hanover,  Mass.,  Aug.  4,  1855. 
Educated  in  N.  Y.;  after  trip  to 
Europe  in  1875  orgt.  there  and  for 
10  years  teacher  of  vocal  mus.  in 
public,  schools;  conductor  Apollo 
and  Rubinstein  Clubs  and  of  an- 
nual Maine  festival,  where  his  force 
as  choral  condr.  is  shown. 

Chappell,  William,  editor,  b.  London, 
Nov.  20,  1809;  d.  there,  Aug.  20, 
1888.  Son  of  Samuel,  who  founded 
firm  of  Chappell  and  Co.  1812;  Wm. 
inherited  share  in  business  1834; 
projected  1840  and  encouraged  Mu- 
sical Antiquarian  Society;  edited 
Dowland's  songs,  and  Collection  of 
National  English  Airs,  with  hist, 
accounts  of  songs,  very  valuable 
for  Shakesperean  and  earlier  songs; 
some  inaccuracies  about  Scotch 
songs  removed  in  later  editions  under 
other  titles  Popular  music  of  the 
olden  time,  etc. 

Chapuis  (sha-pti-i),  Auguste  Paul  Jean 
Baptiste,  compr.  b.  Dampierre-sur- 
Salon,  Apr.  20,  1858.  Pupil  of 
Dubois,  Massenet,  Ce"sar  Franck  at 
Paris  Cons.,  where  he  took  several 
prizes;  orgt.  at  St.  Roch,  Paris; 
teacher  of  harm,  at  Cons,  since  1894, 
inspector  of  mus.  in  Paris  schools 
since  1895;  composed  opera  Enguer- 
rande,  not  very  successful. 

Charpentier  (shar-pan-ti-a),  Gustave, 
compr.  b.  Dieuze,  Lorraine,  June 
25,  1860.  Worked  as  factory  assist- 
ant; after  success  at  Lille  Cons 
studied  at  Paris  Cons.  1881-87  under 
Massart  (violin),  Pessard  (harmony), 


CHAUSSON 


CHEVILLARD 


and  MasseiMst;  won  Grand  prix  de 
Rome  1887  with  scene  lyrique  Didon. 
Orch.  suite  Impressions  d'ltalie 
became  popular  for  daintily  pict- 
uresque orchestrations;  La  vie  du 
poete,  symph.  drama  for  orch.  soli 
and  chorus,  struck  the  note  of 
protest,  later  given  more  full  expres- 
sion in  Louise,  roman  musical  (said 
to  be  first  of  a  trilogy),  produced  at 
OpeYa  Comique  1900,  widely  else- 
where on  the  continent  and  in  N.  Y. 
1908;  the  opera  is  musically  skil- 
fully composed,  of  marked  original- 
ity, and  freedom  from  conventional 
models;  it  is  also  remarkable  for 
its  libretto,  in  which  C.  himself  has 
expressed  his  socialistic  interest  in 
the  working  girl  as  an  individual 
and  his  enthusiasm  for  Montmartre; 
music  is  skilful,  vivid,  and,  like  his 
theories,  effective,  but  not  deeply 
original  or  convincing. 

Chausson  (shos-son),  Ernest,  compr. 
b.  Paris,  1855;  d.  Limay,  June  12, 
1899.  Pupil  of  Massenet  at  Paris 
Cons,  and  of  Ce"sar  Franck;  secre- 
tary of  Socie'te'  Nationale  de  Mus- 
ique;  composed  Le  Roi  Arthus, 
opera,  1903,  2  smaller  dramatic 
works,  several  songs,  3  symph. 

Eems,  of  which  Viviane  is  best 
own,  a  string  quartet,  etc.  Broad- 
minded  admirer  of  works  of  Wagner 
and  of  contemporaries;  mood  of  his 
music  is  that  of  an  "  affectionate, 
dreamy  sensitiveness,"  not  weak  but 
seeming  self -consciousness. 

Cherubini  (ker-u-be'-ne),  Maria  Luigi 
Carlo  Zenobi  Salvatore,  compr.  b. 
Florence,  Sept.  14,  1760;  d.  Paris, 
Mar.  15,  1842.  >  Taught  by  his 
father,  cembalist  in  theatre,  by  B. 
and  A.  Felice,  Bizarri,  and  Castrucci, 
then  sent  to  Milan  by  Duke  (after- 
wards Emperor)  Leopold  to  study 
with  Sarti,  from  whom  he  gained 
thorough  proficiency  in  part-writing 
after  manner  of  Italian  contra- 
puntists. Between  1780-1784  he 
composed  8  operas  gaining  consider- 
able renown  in  Italy;  1784-86  he 
was  in  England,  for  one  year  com- 
poser to  the  King.  After  another 
year  in  Italy,  he  settled  in  Paris  in 
1788;  his  first  French  opera  Demo- 
phoon  was  not  very  successful,  but 
it  foreshadows  his  later  work. 
From  1789-92  he  conducted  the 


"  Bouffons,"  Italian  opera  estab- 
lished in  Paris  by  the  Queen's  hair- 
dresser, Leonard;  and  in  1791  pro- 
duced Lodoiska,  whose  rich  ensem- 
bles and  striking  harmonic  effects 
made  great  impression.  Up  to  1804 
he  composed  his  most  popular  operas 
Medee  1797,  Les  deux  journees 
1800,  Anacreon  1803.  Summoned 
to  Vienna  1805,  he  met  Beethoven, 
but,  embittered  by  failure  of  his 
plans,  returned  to  France,  where 
after  1809  he  composed  chiefly 
sacred  music.  He  had  been  ap- 
pointed inspector  when  the  Cons, 
was  founded  in  1795,  but  gained  no 
higher  honors  owing  to  Napoleon's 
dislike  of  him;  after  the  restoration 
he  gained  honor  and  wealth  and  in 
1822  became  director  of  the  Cons.; 
resigned  1842.  As  teacher  and  au- 
thor of  Counterpoint  and  Fugue,  C. 
influenced  Auber,  Halevy,  Carafa, 
etc.;  the  qualities  of  his  music — 
chaste  learning,  lofty  and  pure 
spirit — which  kept  his  dramatic 
music  from  exerting  a  wide  influ- 
ence are  the  very  qualities  which 
make  his  church  music  admirable. 

Chevalier  (she-val'-ya),  Albert  Onesime 
Britannicus  Gwathveoyd  Louis, 
singer,  b.  Notting  Hill,  London, 
Mar.  21,  1862.  D6but  as  comedian 
1877,  toured  with  Kendals  and  Hare; 
private  entertainer;  since  1891  mu- 
sic-hall performer  of  great  popularity 
in  England,  provinces,  and  America; 
specialty  coster  songs,  many  of 
which  are  composed  by  brother 
Auguste,  under  pseudonym  Charles 
Ingle. 

Cheve  (she-va),  Emile  Joseph  Maurice, 
teacher,  b.  Douarnenez,  Finistere, 
1804;  d.  Paris,  Aug.  26,  1864. 
Physician;  married  Nanine,  sister 
of  Aime'  Paris,  and  with  her  wrote 
numerous  pamphlets  in  support  of 
Galin-Paris-Chev6  system  of  mus. 
instruction  and  sight  reading,  by 
which  numbers  are  used  to  represent 
the  notes  of  the  scale;  bitterly 
attacked  Conservatoire  professors 
for  opposing  the  system. 

Chevillard  (she'-ve-yar'),  Paul  Alex- 
andre  Camille,  compr.  b.  Paris,  Oct. 
14,  1859.  Son  of  Pierre  Alexandre 
Frangois  (1811-1877),  famous  'cellist, 
teacher  at  Paris  Cons.,  founder  of 


CHLADNI 


CHOPIN 


Soci6t6  des  derniers  quatuors  de 
Beethoven;  pf.  pupil  at  Cons,  of 
Mathias,  chiefly  self-taught  in  com- 
position; assistant  and  successor 
1899  of  Lamoureux  as  director  of 
concerts;  has  composed  2  symph. 
poems,  some  songs,  and  chamber 
music  remarkable  for  its  dignity 
and  personal  charm. 

Chladni  (klad'-ne),  Ernst  Florens  Fried- 
rich,  physicist,  b.  Wittenberg,  Nov. 
30,  1756;  d.  Breslau,  Apr.  3,  1827. 
Student  of  law  and  medicine  at 
Leipzig,  abandoned  them  for  phys- 
ics, especially  acoustics;  discovered 
tone-figures,  made  by  vibrations  in 
sand  scattered  on  glass,  and  made 
other  discoveries  relating  to  acoustic 
properties  of  buildings,  classifica- 
tion of  instruments,  etc.;  also 
invented  clavicylinder,  in  which 
sound  was  produced  by  friction  on 
glass,  much  praised  by  Napoleon 
but  of  no  musical  importance. 

Chopin  (sho-pan),  Frederic  Francois, 
compr.  b.  Zelazowa  Wola,  near 
Warsaw,  Feb.  22,  1810  [some  auth. 
give  Mar.  1,  1809];  d.  Paris,  Oct. 
17,  1849.  His  mother  was  a  Pole, 
but  his  father  was  a  native  of 
Nancy,  France,  who  having  failed 
in  business  and  retired  from  the 
army,  taught  French  at  several 
schools,  and  at  a  boarding-school 
of  his  own,  where  his  son  received 
his  rather  slight  general  education. 
He  had  thorough  musical  instruc- 
tion from  Adalbert  Zywny,  and, 
while  at  the  Warsaw  Lyceum,  from 
Joseph  Eisner.  In  1818  he  won 
much  praise  by  playing  a  Gyrowetz 
concerto  in  public;  in  1825  he  pub- 
lished the  rondo  Op.  1;  in  1829  gave 
a  successful  concert  in  Vienna,  and 
in  1830,  after  three  farewell  concerts 
in  Warsaw,  he  had  a  not  very  suc- 
cessful tour  across  Europe,  arriving 
in  Paris  early  in  1832.  He  soon 
formed  many  friends  among  literary 
and  musical  circles,  such  as  Balzac, 
Heine,  Liszt,  Cherubini,  Bellini, 
Meyerbeer,  etc.  Up  to  1835  he 
gave  infrequent  recitals,  which  seem 
to  have  declined  in  popularity.  As 
a  performer  he  was  at  his  best  only 
in  his  own  music,  and  from  the 
contradictory  reports  of  contem- 
poraries emerges  an  impression 
that  his  playing  was  remarkable  i 


for  quality  of  touch  and  tone, 
smoothness  and  delicacy,  rather  than 
force;  his  use  of  tempo  rubato, 
strongly  condemned  by  some  as  a 
sentimental  exaggeration,  was  evi- 
dently a  technical  device  well  con- 
trolled and  may  have  been  one 
source  of  the  haunting  charm  of  his 
performance.  C.  visited  Germany 
again  in  1835-36,  when  he  met 
Mendelssohn  and  Schumann,  and 
in  1837  and  again  at  the  time  of  the 
Revolution  of  '48  he  visited  and 
played  in  England,  returning  to 
Paris  about  a  year  before  his  death. 
Throughout  his  life  C.  was  beloved 
by  many  women,  the  most  famous 
of  them  being  the  novelist  George 
Sand  (Mme.  Dudevant);  his  inti- 
macy with  her  lasted  from  1837-47; 
in  her  Hiver  a  Majorque,  Histoire  de 
ma  vie  and  Lucrezia  Floriani 
(where  one  of  the  characters  repre- 
sents Chopin),  and  in  many  works 
of  and  about  the  period,  the  details 
may  be  read.  From  about  1837  C. 
was  troubled  with  the  pulmonary 
disease  of  which  he  finally  died; 
much  evidence  has  been  produced 
to  refute  the  once  current  idea  that 
he  was  always  a  neurotic  invalid; 
but  the  frequency  of  such  contem- 
porary remarks  as  Berlioz's  "  II  se 
mourait  toute  sa  vie  "  prevents  us 
from  thinking  of  him  as  actually 
robust. 

His  works  are  practically  all  for 
the  pianoforte.  A  posthumous  vol- 
ume of  17  Polish  songs,  mostly 
arrangements  of  old  tunes,  is  his 
only  vocal  music;  one  pf.  trio  Op.  8, 
a  polonaise  Op.  3,  sonata  Op.  65,  and 
duet  for  pf.  and  'cello  represent 
chamber  music,  and  even  here 
Franchomme  rearranged  probably 
the  'cello  parts.  In  the  two  con- 
certos for  pf.  and  orch.,  Op.  11  in  E 
minor  and  Op.  21  in  F  minor,  the 
orchestration  is  so  thin  that  later 
composers  and  editors  have  rewritten 
it.  But  in  his  own  field  of  solo  piano 
music,  between  1833-47,  he  effected 
a  real  and  permanent  revolution, 
and  it  is  interesting  to  note  that  this 
accomplishment  was  deliberate  and 
self-conscious,  and  moreover  recog- 
nized by  his  contemporaries.  Schu- 
mann's review  of  Op.  2  in  1831,-with 
the  phrase  "Hats  off,  gentlemen! 
a  genius!  "  started  the  vogue  in 


CHORLEY 


CMAROSA 


Germany,  and  in  Paris  admiration 
for  him  and  his  music  was  decidedly 
deeper  than  mere  fashion.  His 
music  shows  thorough  knowledge  of 
construction,  and  inexhaustible  orig- 
inality; its  content  is  romantic  in 
its  restlessness,  its  lack  of  conven- 
tionality, its  predisposition  toward 
despair;  it  is  intensely  personal,  not 
because  it  voices  C's  particular 
feelings,  but  because  it  expresses  the 
intimate  moods  of  individual  hearers. 

Chorley,  Henry  Fothergill,  critic,  b. 
Blackley  Hurst,  Lancashire,  Dec.  15, 
1808;  d.  London,  Feb.  16,  1872. 
Wrote  some  novels,  plays,  and 
literary  reviews;  translated  libretti, 
and  wrote  those  of  Amber  Witch, 
Kenilworth,  etc.;  on  staff  of  the 
Athenaeum  1830-1871  wrote  mus. 
criticisms  and  other  papers;  also 
wrote  books  Modem  German  Music, 
etc.  Though  not  a  trained  musi- 
cian, and  often  prejudiced,  notably 
against  Schumann  and  in  favor  of 
Mendelssohn,  works  reflect  inter- 
estingly intelligent  contemporary 
attitudes;  Autobiography  and  Let- 
ters published. 

Choron  (sho-ron),  Alexandra  Etienne, 
theorist,  b.  Caen,  Oct.  21,  1772; 
d.  Paris,  June  29,  1834.  Student  of 
languages  and  mathematics,  applied 
himself  with  great  earnestness  to 
mus.  theory;  music  publisher  1805; 
director  Grand  Opera,  1816-17; 
founded  and  directed  1824-1830 
Institution  royale  de  musique,  clas- 
sique  et  religieuse,  where  many 
famous  musicians,  Dietsch,  Duprez, 
Rosine,  Holz,  etc.,  were  trained;  had 
influence  also  on  Fe"tis,  Kastner,  etc.; 
wrote  books  on  mus.  theory  and 
education,  dictionary  of  musicians, 
translated  Albrechtsberger's  treatise. 

Chouquet  (sho-ka'),  Adolphe  Gustave, 
writer,  b.  .Havre,  Apr.  16,  1819;  d. 
Paris,  Jan.  30,  1886.  From  1840-60 
teaching  in  New  York;  after  1871 
keeper  of  museum  at  Paris  Cons., 
of  which  he  published  catalogue; 
beside  contributions  to  French  mus. 
papers,  wrote  valuable  Histoire 
general  de  la  musique  dramatique  en 
France  1873. 

Chretien  (kra'-ti-an),  Hedwige  Louise 
Marie,  compr.  b.  Compiegne,  France, 
July  5,  1859.  As  pupil  of  Guiraud 


and  Lenepveu,  took  prizes  at  Paris 
Cons,  in  solfeggio,  harmony,  coun- 
terpoint, composition,  and  piano; 
rehearser  of  solfeggio  at  Cons.;  mar- 
ried P.  Gennaro  1887;  has  com- 
posed chamber  music,  mus.  for  wind 
instrs.,  pf.,  and  songs. 

Chrysander  (kris-an'-der),  Carl  Franz 
Friedrich,  historian,  b.  Liibtheen, 
Mecklenburg,  July  8,  1826;  d. 
Bergedorf,  Sept.  3,  1901.  Ph.  D. 
University  of  Rostock;  devoted 
most  of  his  life  to  study  of  Handel, 
whose  works  he  edited  with  con- 
summate accuracy  and  wisdom  for 
the  Handel  Gesellschaft,  working 
quite  alone  after  1860;  biog.  of 
Handel  remains  unfinished;  part 
editor  of  Vierteljahrsschrift  fur 
musikwissenschaft  with  Adler  and 
Spitta;  contributed  to  Allgemeine 
Zeitung  articles  extolling  Handel 
above  all  musicians,  protesting 
against  re-editing,  and  opposing 
modern  tendencies  in  music. 

Chwatal  (kva-tal),  Franz  Xaver,  compr. 
b.  Rumburg,  Bohemia,  June  19, 
1808;  d.  Soplbad  (Elmen),  June  24, 
1879.  Music  teacher  at  Merseburg 
and  Magdeburg;  wrote  2  pf.  meth- 
ods and  more  than  200  pf.  pieces. 
Brother,  Joseph  (b.  1811),  organ 
maker  in  Merseburg,  made  several 
valuable  improvements  in  mechanism 
of  org. 

Cilea  (chi-la-a),  Francesco,  compr.  b. 
Palmi,  Calabria,  1867.  Despite 
opposition  of  father  entered  Cons, 
at  14,  where  won  gold  medal  for 
orch.  suite;  began  early  to  write 
operas;  L ' Arlesiana  1897  and  Adri- 
enne  Lecouvreur,  Milan  1902,  New 
York  1907,  especially  successful; 
resigned  prof,  harmony  at  Royal 
Inst.  Florence  1905. 

Cimarosa  (chim-a-ro'-za) ,  Domenico, 
compr.  b.  Aversa,  Naples,  Dec.  17, 
1749;  d.  Venice,  Jan.  11,  1801.  Son 
of  poor  people  (his  father  was  a 
mason)  he  received  education  in 
charity  school  of  Minorites  and  at 
Cons.  Santa  Maria  di  Loreto,  where 
he  studied  under  Manna,  Sacchini, 
and  Piccini.  After  his  first  opera 
was  produced  in  1772,  he  lived  alter- 
nately in  Rome  and  Naples,  his 
works  growing  in  popularity  until 
he  rivaled  Paisiello;  after  3  years 


CIPOLLONE 


CLAY 


as  court  composer  in  St.  Petersburg, 
he  went  as  court  capellmeister  in 
1792  to  Vienna,  where  he  pro- 
duced his  masterpiece  II  matri- 
monio  segreto.  Returning  to  Naples, 
he  was  banished  for  sympathizing 
with  the  Revolution  in  1799. 
Though  his  operas  are  said  to  be 
of  purest  Italian  vein  of  melody 
without  monotony,  and  with  deli- 
cacy of  humor  surpassed  by  none 
but  Mozart,  only  Matrimonio  se- 
greto among  66  has  survived. 

Cipollone  (chip-o-lo-ne),  Alfonso,  com- 
pr. b.  Fara  S.  Martino  (Chieti), 
Nov.  25,  1843.  Pupil  of  Ruta  at 
Naples;  teaching  at  Teramo;  has 
composed  songs,  chamber  music, 
and  pieces  for  pf. 

Claassen  (Idas-sen),  Arthur,  condr.  b. 
Stargard,  Prussia,  Feb.  19,  1859. 
Studied  at  music  school  in  Weimar 
under  Miiller-Hartung,  A.  W.  Gott- 
schalg,  and  B.  Sulze;  attracted 
interest  of  Liszt  1878;  condr.  at 
Gottingen  and  Magdeburg;  condr. 
Brooklyn,  N.  Y.,  Arion  and  other 
societies,  established  Claassen  Mu- 
sical Institute  for  classical  music 
only;  has  composed  choruses,  orch., 
and  chamber  music. 

Claribel,  sec  Mrs.  C.  C.  Barnard. 

Clark,  Rev.  Frederick  Scotson,  orgt.  b. 
London,  Nov.  16,  1840;  d.  there, 
July  5,  1883.  Taught  by  his  mother 
and  by  Sergent  in  Paris;  orgt.  in 
London  at  14;  studied  with  E.  J. 
Hopkins  and  at  Royal  Academy  with 
Bennett,  Goss,  and  others;  founded 
London  Organ  Sch.;  after  taking 
.orders  he  studied  abroad,  returning 
to  London  1875;  skilful  player  on 
org.  and  harmonium;  versatile  compr. 
for  both  instruments. 

Clarke,  Hugh  Archibald,  compr.  b. 
near  Toronto,  Aug.  15, 1839.  Pupil  of 
father  James  Patton  C.  (1808-1877, 
prof,  of  music  in  the  University  of 
Upper  Canada,  and  a  Mus.  Doc. 
Oxford,  orgt.).  Moved  to  Philadel- 
phia 1859;  orgt.  in  several  churches; 
conducted  The  Abt  Singing  Society; 
prof,  of  music  Univ.  of  Penn.  since 
1875;  W.  W.  Gilchrist  among  pupils; 
composed  music  to  Aristophanes' 
Acharnians,  and  to  Euripides'  Iphi- 
genia  in  Tauris,  an  oratorio  Jerusa- 
lem, pf.  pieces,  etc.;  has  written 


text-books  on  harmony  and  counter- 
point, Music  and  the  Comrade  Arts 
and  Highways  and  Byways  of  Music; 
as  lecturer  and  educator  his  mature 
scholarship  has  been  widely  felt. 

Clarke,  Jeremiah,  orgt.  b.  London  (?) 
before  1669;  d.  there,  Dec.  1,  1709. 
Chorister  under  Blow;  orgt.  at  Win- 
chester College,  St.  Paul's  Cathedral, 
joint  orgt.  at  Chapel  Royal;  com- 
posed several  anthems,  the  original 
music  to  Dryden's  Alexander's  Feast, 
now  lost,  music  to  several  plays, 
cantatas,  and  songs;  remembered 
because  of  original  psalm-tunes  and 
anthems. 

Clarke,  John  Whitfeld  [afterwards 
known  as  Clarke- Whitfeld],  compr. 
b.  Gloucester,  Dec.  13,  1770;  d. 
Holmer,  near  Hereford,  Feb.  22, 
1836.  Pupil  of  Ph.  Hayes;  orgt.  at 
Ludlow,  Dublin,  Armagh,  Cam- 
bridge; prof,  at  Cambridge;  com- 
posed services,  anthems,  an  oratorio, 
etc.;  first  arranged  Handel's  ora- 
torios for  voice  and  pf.;  edited 
Beauties  of  Handel,  Beauties  of 
Purcell,  and  many  others. 

Clarke,  William  Horatio,  orgt.  b.  New- 
ton, Mass.,  Mar.  8,  1840.  Educated 
at  Dedham;  orgt.  there,  and  in 
Boston  at  Berkeley  St.  Church  and 
Tremont  Temple  1878-87;  superin- 
tendent of  schools  in  Dayton,  O.; 
after  1887  gave  private  lessons; 
retired  from  professional  life  1892; 
written  works  on  construction  of 
org.,  short  voluntaries,  anthems, 
essays  (Cheerful  Philosophy  for 
Thoughtful  Invalids,  etc.). 

Clausz  -  Szarvady  (klous-shar-va-di) , 
Wilhelmine,  pst.  b.  Prague,  Dec.  13, 
1834;  d.  Paris,  Sept.,  1907.  Studied 
at  Proksch  Inst.;  tour  to  Dresden 
and  Leipzig  1850;  although  noticed 
by  Berlioz  she  did  not  attract  atten- 
tion in  Paris  until  about  1853, 
after  which  had  great  success  there 
and  in  London  and  Germany; 
executed  classic  music,  Scarlatti, 
Bach,  and  Beethoven  with  con- 
scientious fidelity  and  comprehend- 
ing spirit. 

Clay,  Frederic,  compr.  b.  Paris,  Aug.  3, 
1840;  d.  Great  Marlow,  Bucks,  Nov. 
24,  1889.  Son  of  James  C.,  M.  P.; 
studied  at  Paris  under  Molique  and 


CLEMENS 


COAXES 


at  Leipzig  under  Hauptmann;  held 
post  in  Treasury;  taught  music  in 
London;  composed  several  success- 
ful operas  and  songs. 

Clemens,  Charles  Edwin,  orgt.  b. 
Plymouth,  Eng.,  Mar.  12,  1856. 
Pupil  of  Weeks,  Martin,  and  Pauer 
at  Royal  Coll.  of  Mus.;  orgt.  at 
Davenport  at  11,  of  Eng.  church  at 
Berlin,  teacher  in  Scharwenka  Cons.; 
since  1895  in  Cleveland,  O.,  teach- 
ing, lecturing  at  Western  Reserve 
Univ.,  condr.  Singers'  Club;  pub- 
lished Pedal  Technique,  and  Modern 
School  for  Organ,  of  great  value. 

Clemens  Jacob  [called  Clemens  non 
Papa  to  distinguish  him  from  Pope 
Cl.  VII],  compr.  b.  about  1500; 
d.  Vienna  (?)  before  1558.  Definite 
facts  of  life  unknown,  probably  dir. 
of  mus.  at  Antwerp  Cathedral; 
a  prolific  and  versatile  compr.  of 
Netherland  School;  his  numerous 
masses  and  motets  are  extraordi- 
narily melodious  for  his  day,  without 
lacking  contrapuntal  skill. 

Clement,  Edmond,  operatic  tenor.  Ed- 
ucated at  the  Paris  Conservatoire 
where  he  won  first  prize  at  eighteen 
years  of  age,  making  his  d£but  in 
Mireille  at  the  Opera  Comique,  of 
which  company  he  was  a  member 
up  to  the  time  he  came  to  New  York 
Metropolitan  Opera  House,  during 
the  season  of  1909-1910. 

Clement  (kla-man),  Felix  Auguste, 
historian,  b.  Paris,  Jan.  13,  1822; 
d.  there,  Jan.  .23,  1885.  Studied 
music  secretly;  orgt.  at  Sorbonne 
and  director  at  Sainte  Chapelle; 
edited  early  music;  wrote  method 
for  plainsong,  a  history  of  music 
and  one  of  religious  music,  and 
Dictionnaire  lyrique  (1868,  supple- 
ments to  '81,  re-edited  by  Pougin 
1897),  valuable  reference  list  of 
operas,  with  dates  of  performance,etc. 

dementi,  Muzio,  pst.,  compr.  b. 
Rome,  1752;  d.  Evesham,  War- 
wickshire, Eng.,  Mar.  10,  1832. 
Father  a  silversmith  with  musical 
tastes  had  child  taught  early  by 
orgt.  Buroni  and  Cordicelli;  at  9  C. 
won  position  as  orgt.  in  competitive 
test;  later  taught  by  Carpani  and 
Santarelli.  Performance  of  mass 
composed  at  14  attracted  attention 


of  Peter  Beckford,  who  took  boy 
to  England  to  be  educated.  In  1770 
C.  burst  upon  London  as  remark- 
ably equipped  pst.  and  from  1777- 
1780  was  cembalist  at  Italian  opera. 
In  1781  traveled  to  Paris  and  ulti- 
mately to  Vienna,  where  he  and 
Mozart  played  together  in  rivalry; 
though  the  victory  was  awarded 
to  neither,  C.  thereafter  adopted 
smoother  and  less  mechanical 
methods  of  playing.  On  return  to 
England  C.  gained  large  fortune 
from  interest  in  mus.  publishing 
(both  with  others  and  at  establish- 
ment of  his  own),  and  by  teaching. 
In  1802  he  took  John  Field  to  St. 
Petersburg,  taught  Meyerbeer,  and 
met  Beethoven  who  admired  his 
works  in  Germany,  and  in  1810 
returned  to  England  for  most  of  the 
rest  of  his  life.  As  a  teacher  he  had 
wide  influence  on  Field,  Cramer, 
Berger,  Moscheles,  Meyerbeer,  etc.; 
as  a  player  and  composer,  he  estab- 
lished modern  pf.  playing.  His 
sonatas  fixed  the  form  of  pf.  sonata 
and  his  Gradus  ad  Parnassum,  100 
pf.  studies,  are  still  indispensable  to 
a  thorough  training.  He  wrote 
about  100  sonatas,  other  pf.  pieces, 
some  unpublished  orch.  mus.;  his 
works  are  marked  by  precision  of 
form,  fresh  quickness  of  movement, 
and  lack  of  sentimentality. 

Clough-Leighter,  H.,  compr.  b.  Wash- 
ington, D.  C.,  May  13, 1874.  Studied 
harmony  and  pf.  with  mother  at 
five,  and  later  with  Henry  Xandcr 
and  Humfrey  Anger.  Boy  soprano; 
organist  at  fifteen,  holding  positions 
in  Washington  and  Providence;  de- 
voted chiefly  to  composition  of 
church  and  secular  cantatas  and 
songs,  some  with  orchestral  accomp. ; 
lives  in  Boston. 

Clutsam,  George  H.,  pst.,  compr.  b. 
Australia.  Member  of  concert  com- 
pany; accompanist  for  Melba  in 
English  tour  1893.  Compositions 
include  symph.,  songs,  etc. 

Coates,  John,  tenor.  Educated  Brad- 
ford Grammar  Sch.;  first  London 
appearance  Savoy  Th.  1894;  for 
5  years  leading  parts  in  comic  opera, 
with  two  trips  to  America ;  attracted 
attention  1900  when  singing  in  The 
Gay  Pretenders;  first  appearance  at 


COBB 


COLERIDGE-TAYLOR 


Covent  Garden  1901,  since  then  in 
Cologne,  Berlin,  Paris,  and  at  most 
important  English  festivals. 

Cobb,  Gerard  Francis,  compr.  b. 
Nettlestead,  Kent,  Oct.  15,  1838. 
Educated  at  Marlborough  College 
and  Trinity  Coll.  Cambridge,  of 
which  he  became  Fellow  1863;  Pres. 
of  Camb.  Univ.  Mus.  Soc.;  Chair- 
man of  Board  of  Mus.  Studies. 
Musical  education  in  Dresden;  pub- 
lished anthems,  part-songs,  songs, 
suite,  etc. 

Coenen  (ke-nen),  Willem,  pst.  b. 
Rotterdam,  Nov.  17,  1837.  Trav- 
eled in  S.  America  and  W.  Indies; 
since  1862  settled  in  London;  com- 
posed oratorio  Lazarus,  etc.  Brother 
Franz  (1826-1904),  vU.,  pupil  of 
Vieuxtemps  and  Molique  who,  after 
tours  in  S.  America,  became  direc- 
tor of  Amsterdam  Cons.;  resigned 
1895. 

Coerne  (kern),  Louis  Adolphe,  compr. 
b.  Newark,  N.  J.,  Feb.  27,  1870. 
From  6  to  10  he  studied  chiefly  violin 
in  Stuttgart  and  Paris;  after  prep- 
aration in  Boston  public  schools, 
studied  at  Harvard  under  Paine 
and  at  same  time  with  F.  Kneieel; 
1890-93  with  Rheinberger  in  Munich ; 
played  abroad,  at  Chicago  Exposi- 
tion, orgt.  in  Boston,  Cambridge, 
Buffalo,  and  Columbus,  also  director 
of  choral  societies;  1903  mus.  dir.  at 
Smith  Coll.;  at  Olivet  Coll.  1909; 
prof .  Univ.  Wisconsin  1910;  composed 
2  operas  Woman  of  Marblehead 
and  Zenobia  (Bremen  1905),  symph. 
poem  Hiawatha,  played  in  Cam- 
bridge 1894,  and  many  smaller  works, 
of  which  those  for  the  org.  are 
especially  praised  for  contrapuntal 
skill;  published  Evolution  of  Modern 
Orchestration  1908. 

Cole,  Belle,  contralto,  b.  Chautauqua, 
N.  Y.;  d.  London,  Jan.  5,  1905. 
Taught  by  her  father;  soloist  N.  Y. 
church,  contralto  with  Thomas  mu- 
sical festival  tour  1883;  popular  at 
concerts  and  festivals  in  England; 
successful  tours  to  Australia,  New 
Zealand,  and  round  the  world;  U.  S. 
1901. 

Cole,  Rossetter  Gleason,  compr.,  teacher. 
b.  Clyde,  Mich.,  Feb.  5,  1866.  As  a 
boy  he  showed  talent  for  composition, 


but  his  systematic  training  did 
not  begin  until  he  was  fifteen; 
educated  in  the  public  schools  of 
Ann  Arbor,  Mich.,  and  graduated 
from  the  University  of  Michigan  in 
1888,  taking  the  theoretical  course 
in  music  as  part  of  his  college  work 
for  the  degree  of  Ph.B.;  taught  in 
the  High  Schools  of  Ann  Arbor  and 
Aurora,  111.,  for  two  years  and  then 
went  to  Berlin;  pupil  in  composition 
of  Max  Bruch;  prof,  of  music  Ripon 
College  (Wis.)  1892-94;  Grinnell 
College  (Iowa)  1894-1901;  teacher 
in  Chicago  1901-1907;  prof,  of 
music,  University  of  Wisconsin, 
1907-09;  lecturer  on  music,  Colum- 
bia University  Summer  Session, 
1908-1910;  President  of  Music 
Teachers'  National  Association  1903, 
1909,  1910;  lives  in  Chicago;  pub- 
lished compositions  number  about 
60;  well-known  works  are  Novellette 
in  Gb,  and  From  a  Lover's  Note-Book 
for  piano,  the  songs  Auf  Wiedersehen, 
A  Kiss  and  A  Tear,  and  Dearie  and 
the  musical  recitations  King  Robert 
of  Sicily  and  Hiawatha's  Wooing. 

Cole,  Samuel  Wlnkley,  teacher,  b. 
Meriden,  N.  H.,  Dec.  24,  1848. 
Studied  with  J.  W.  Tufts  and  at 
N.  E.  Cons.;  orgt.  at  Portsmouth 
and  Boston;  teacher  of  sight-sing- 
ing N.  E.  Cons,  since  1883;  super- 
visor of  public  school  music  in 
Dedham  1886-1906  and  in  Brook- 
line  since  1884;  director  of  People's 
Singing  Class  and  conductor  Peo- 
ple's Choral  Union  in  Boston,  and 
has  been  very  successful  with  these 
organizations;  author  of  books  on 
sight-singing  and  public  school  text- 
books; charge  of  music  Boston 
Univ.  since  1906. 

Coleridge-Taylor,  Samuel,  compr.  b. 
London,  Aug.  15,  1875.  Father, 
West  African,  a  physician,  mother 
English;  studied  vln.  at  6  with 
Beckwith  and  later  at  Royal  Coll. 
of  Mus.,  where  he  also  studied  comp. 
under  C.  V.  Stanford;  living  in  Lon- 
don; teacher  in  Trinity  College  and 
conductor  of  the  Handel  Society; 
attained  early  remarkable  success, 
commissioned  at  one  time  to  write 
for  three  festivals;  compositions: 
triple  cantata  on  portions  of  Long- 
fellow's Hiawatha,  charming  in  sim- 
plicity, vigor  and  unusual  rhythms; 


COLLAN 

cantatas  Meg  Blane,  Endymioris 
Dream,  etc.;  an  oratorio  The  Atone- 
ment, Five  Choral  Ballads  with  or- 
chestra; nonet  for  piano,  strings  and 
wind,  quintet  for  clarinet  and  strings, 
string  quartet,  Five  Negro  Melodies 
for  violin,  'cello  and  piano;  symphony 
in  A  minor,  orchestral  rhapsody  En- 
dymion,  Ballade  in  A  minor,  Solemn 
Prelude  for  orchestra;  incidental 
music  to  Herod,  Ulysses,  Nero  and 
Faust;  some  forty  songs,  24  Negro 
Melodies  transcr.  for  piano;  various 
piano  solos,  anthems  and  part  songs, 
and  works  in  large  and  small  form 
for  violin  with  orchestra  or  piano. 
Visited  United  States  in  1904,  1906 
and  again  in  1910  to  direct  the  first 
production  of  Bamboula  Rhapsody 
Dance  for  orch.  at  the  Norfolk 
(Conn.)  Festival. 

Collan,  Karl,  compr.,  author,  b.  Jan.  3, 
1828;  d.  Helsingfors,  Sept.  2,  1871; 
dr.  phil.  and  librarian  at  the  Uni- 
versity; translated  the  Kalevala, 
the  national  epic  of  Finland,  into 
Swedish;  compositions  are  mainly 
songs. 

Colonna,  Giovanni  Paolo,  compr.  b. 
Brescia  or  Bologna  about  1637;  d. 
Bologna,  Nov.  28,  1695.  Son  of 
Antonio,  org.  maker;  studied  at 
Rome  under  Carissimi,  Abbatini, 
and  Benevoli;  orgt.  at  Rome  and 
Bologna;  four  times  president  of 
Accademia  Filarmonica;  Bononcini 
among  pupils;  wrote  one  opera 
Amilcare  1693,  2  books  of  motets, 
6  oratorios,  etc. 

Colonne  (ko-lan'),  Judas  [called  Edou- 
ard],  vlt.,  condr.  b.  Bordeaux,  July 
24,  1838;  d.  March  28,  1910.  Took 
prizes  in  harmony  and  violin  at 
Paris  Cons.;  first  violin  at  Ope'ra, 
resigned  to  establish  Concert  Na- 
tional, later  Concerts  du  Chatelet, 
famous  for  production  of  works  of 
Berlioz  and  younger  French  com- 
posers; condr.  at  exhibition  of  '78, 
at  Grand  Ope'ra  1892,  in  London 
1896.  Married  Eugenie  Elise  Ver- 
gin  (b.  1854),  singer  and  successful 
teacher. 

Concone  (con-co'-ne),  Giuseppe,  teacher. 
b.  Turin,  1810;  d.  there,  June  1, 
1861.  Taught  singing  and  pf.  in 
Paris  1832-48;  orgt.  court  choir  at 
Turin;  published  2  operas,  pf.  music, 


COOKE 

and  especially  solfeggi  and  vocalises, 
which  are  not  only  valuable  but 
melodious  and  free  from  monotony. 

Conradi  (kon-ra'-di),  August,  compr. 
b.  Berlin,  June  27,  1821;  d.  there, 
May  26,  1873.  Pupil  of  Rungen- 
hagen;  orgt.  at  Berlin;  intimate  of 
Liszt  in  Weimar,  condr.  in  various 
cities  and  at  various  Berlin  theatres; 
composed  8  operas,  5  symphonies, 
made  many  arrangements  and  pot- 
pourris, by  which  chiefly  he  is  known. 

Conti,  Gioacchino  [called  Gizziello], 
singer,  b.  Arpino,  Naples,  Feb.  28, 
1714;  d.  Rome,  Oct.  25,  1761. 
Celebrated  soprano,  named  after  nis 
teacher,  Gizzi;  debut  Rome  1729; 
famous  in  Italy  and  successful  in 
London  in  1736  where  he  supported 
Handel;  1753  withdrew  to  Arpino. 

Converse,  Charles  Crozat,  compr.  b. 
Warren,  Mass.,  Oct.  7, 1832.  Studied 
at  Leipzig  law,  philosophy,  and  music 
with  Richter,  Hauptmann,  Plaidy, 
etc.;  practised  law  in  Erie,  Pa.;  now 
living  in  New  Jersey;  has  published 
under  names  Karl  Redan,  C.  O. 
Nevers,  C.  E.  Revons;  chief  works 
American  Overture  on  Hail  Columbia, 
widely  popular  hymn  What  a  friend 
we  have  in  Jesus,  etc. 

Converse,  Frederick  Shepard,  compr. 
b.  Newton,  Mass.,  Jan.  5,  1871. 
After  graduating  from  Harvard 
where  he  studied  with  Paine,  he 
continued  with  Baermann  and  Chad- 
wick,  then  at  Royal  School  in  Munich 
with  Rheinberger;  returning  to 
Boston  1898,  taught  at  N.  E.  Cons. 
and  at  Harvard  College  (1906- 
1907);  chief  works  are  sonata  for 
vln.  and  pf.;  string  quartet,  pf. 
pieces,  symphony,  Festival  of  Pan 
romance  for  orchestra;  two  poems 
for  pf.  and  orch.,  La  Belle  Dame 
sans  Merci,  ballad  for  barit.  and  orch., 
Mystic  Trumpeter,  fantasy  for  orch., 
Pipe  of  Desire,  opera  (Boston  1906), 
Job,  oratorio  1907.  C's  music  is 
scholarly  and  often  freely  modern. 

Cooke,  Benjamin,  compr.,  orgt.  b. 
London,  1734;  d.  there,  Sept.  14, 
1793.  Son  of  music  publisher,  pupil 
of  Pepusch;  deputy  orgt.  at  West- 
minster at  12,  orgt.  1762;  Mus.  Doc. 
at  both  Cambridge  and  Oxford;  asst. 
director  of  Handel  commemoration 


COOMBS 


COREY 


1784;  resigned  conductorship  of 
Acad.  of  Ancient  Mus.  to  Arnold; 
beside  excellent  church  music,  com- 
posed especially  fine  glees  (Hark, 
hark!  the  lark)  and  canons. 

Coombs,  Charles  Whitney,  orgt.,  compr. 
b.  Bucksport,  Me.,  Dec.  25,  1859. 
Studied  12  years  in  Germany  and 
England,  piano  with  Speidel,  com- 
position with  Draeseke,  Jansen,  and 
John;  orgt.  at  Amer.  Ch.  in  Dresden, 
now  in  New  York.  Composed 
cantata  Vision  of  St.  John,  several 
sacred  and  secular  songs,  some  very 
popular. 

Cooper,  George,  orgt.  b.  Lambeth, 
London,  July  7,  1820;  d.  London, 
Oct.  2,  1876.  Son  of  asst.  orgt.  at 
St.  Paul's,  at  11  he  took  services  for 
his  father  and  at  13  held  first  of 
many  positions  at  different  London 
churches,  asst.  at  St.  Paul's  and 
finally  1867  orgt.  at  Chapel  Royal; 
chief  publications  valuable  organ 
arrangements,  Organist's  Manual, 
etc.;  an  able  executant,  he  helped 
to  familiarize  audiences  with  Bach 
and  others;  left  no  compositions  of 
his  own. 

Coquard  (kok-ar'),  Arthur,  compr.,  crit., 
teacher,  b.  Paris,  May  26,  1846;  d. 
there,  Aug.,  1910.  At  first  lawyer, 
secretary,  and  librarian,  he  studied 
with  Cesar  Franck;  mus.  dir.  at 
Institut  des  jeunes  aveugles  1891-99; 
author  of  a  pamphlet  on  Ce"sar 
Franck  (1891)  and  of  De  la  musique 
en  France  depuis  Rameau  1891;  com- 
positions include  operas,  incidental 
music  to  plays,  orchestral  works, 
chamber  music,  motets,  organ  pieces, 
and  songs. 

Corder,  Frederick,  compr.,  writer,  b. 
Hackney,  London,  Jan.  26,  1852. 
Forbidden  to  study  music  until  after 
18,  finally  obtained  Mendelssohn 
Scholarship  1875  at  Royal  Acad. 
and  studied  with  F.  Hiller  at  Co- 
logne; on  return,  as  condr.  at 
Brighton  Aquarium,  raised  concerts 
there  to  high  level ;  teacher  of  comp. 
and  curator  at  Royal  Acad.;  has 
composed  several  operas,  some  suc- 
cessful cantatas,  Bridal  of  Trier- 
main,  Sword  of  Argantyr,  and  songs; 
has  done  good  work  as  critic,  and 
translator,  notably  of  Wagner  li- 
brettos. Son  Paul  W.  (b.  1879), 


also  composer.  Pupil  of  father  in 
comp.  and  of  Beringer  and  Matthay 
in  pf.;  teacher  at  Royal  Acad.; 
comp.  for  piano,  an  opera,  fantasy, 
and  orch.  works. 

Corelli,  Arcangelo,  vlt.,  compr.  b. 
Fusignano,  Italy,  Feb.  12  or  13, 
1653;  d.  Rome,  Jan.  10,  1713. 
Pupil  in  vln.  of  Bassani,  counter- 
point of  Simonelli;  after  traveling 
in  Germany  and  possibly  in  France, 
settled  in  Rome  about  1685,  under 
patronage  of  Cardinal  Ottoboni, 
a  charming  and  amiable  man,  a 
connoisseur  of  pictures,  who  was  a 
favorite  in  Roman  society  and  his 
Monday  concerts  important  events; 
he  had  many  famous  pupils,  among 
them  Locatelli,  Geminiani,  Baptiste. 
In  1708  he  yielded  to  urgent  invita- 
tion of  King  of  Naples,  but  his 
playing  did  not  please  the  King  and 
he  made  some  humiliating  mistakes. 
The  discovery  that  Valentini  had 
become  popular  in  Rome  seemed  to 
him  so  much  an  added  mortification 
that  his  health  gave  way.  Without 
being  an  innovator,  he  established 
vln.  technic  upon  a  firm  basis. 
His  works,  several  sets  of  twelve 
sonatas  for  vln.  and  other  instru- 
ments, are  of  great  historical  im- 
portance, as  early  examples  of  less 
severely  contrapuntal  manner,  after- 
ward developed  by  Bach. 

Corey,  Newton  J.,  orgt.,  lecturer,  teacher. 
b.  Hillsdale,  Mich.,  1861.  Parents 
were  talented  amateurs;  showed 
musical  inclinations  as  a  boy, 
"  picking  up  "  instruction  in  a  desul- 
tory way  until  at  the  age  of  thirteen 
he  had  a  course  of  lessons  in  pipe 
organ  playing;  organist  in  Hillsdale 
College  until  1880,  when  he  went  to 
Boston  to  study  music;  pupil  under 
J.  C.  D.  Parker,  B.  J.  Lang,  S.  B. 
Whitney,  G.  W.  Chadwick,  and  W. 
F.  Apthorp;  graduate  of  literary 
department  of  Hillsdale  College; 
began  professional  career  in  Boston 
1881  as  organist  in  various  churches; 
in  1891  went  to  Detroit  as  organist 
of  Fort  St.  Pres.  Church  which  posi- 
tion he  still  fills  (1910);  has  played 
organ  recitals  in  the  leading  American 
cities,  and  has  given  many  lecture 
recitals  since  1885,  being  the  first  to 
introduce  lecture  recitals  with  the  aid 
of  stereopticon  views  of  Richard 


CORNELIUS 


COURVOISIER 


Wagner  and  his  operas;  his  lecture  on 
Edward  MacDowell  has  also  been 
well  received;  musical  editor  Detroit 
Saturday  Night. 

Cornelius,  Carl  August  Peter,  compr., 
writer,  b.  Mayence,  Dec.  24,  1824; 
d.  there,  Oct.  26,  1874.  Grand- 
nephew  of  painter  of  same  name; 
failure  as  actor  turned  his  attention 
to  music;  studied  with  Dehn  1845- 
1850;  in  1852  went  to  Weimar, 
where  became  intimate  with  Liszt 
and  an  ardent  worker  in  the  New 
German  School  which  propagated 
Wagner's  theories;  C.  wrote  many 
articles,  esp.  in  Neue  Zeitschrift  fur 
Musik;  failure  of  his  opera  Barbier 
von  Bagdad  caused  Liszt  to  leave 
Weimar;  C.  met  Wagner  at  Vienna 
and  followed  him  to  Munich  as 
reader  to  Ludwig  and  teacher  at 
Cons.;  composed  2d  opera  Cid, 
prod.  1865  and  3d  Gunlod  (orches- 
trated after  his  death  and  prod. 
1891),  as  well  as  many  songs,  some 
of  which  have  charm  despite  occas- 
ionally forced  writing. 

Cornell,  John  Henry,  orgt.,  writer,  b. 
New  York,  May  8,  1828;  d.  there, 
Mar.  1,  1894.  Studied  in  N.  Y. 
and  abroad;  orgt.  several  churches 
in  N.  Y.;  conservative  compr.  of 
church  mus.;  author  of  useful  edu- 
cational works,  notably  Theory  and 
Practice  of  Musical  Form. 

Cortesi  (kor-ta'-si),  Francesco,  teacher. 
b.  Florence,  1830;  d.  there,  Jan.  3, 
1904.  Studied  at  Bologna  under 
Rossini,  etc.,  conducted,  composed 
light  dramatic  works;  head  of  vocal 
dept.  in  gov't  school  in  Florence 
after  1880. 

Costa,  Sir  Michael  [Andrew  Agnus], 
condr.  b.  Naples,  Feb.  4,  1808; 
d.  Brighton  [London?],  Apr.  29, 1884. 
Taught  by  his  father  Pasquale, 
himself  a  composer,  by  Tritto, 
and  Zingarelli;  in  1829,  having 
already  composed  4  operas,  a  can- 
tata, an  oratorio,  3  symphonies,  and 
a  mass,  he  was  sent  to  Eng.  to  con- 
duct comp.  of  Zingarelli's,  but  was 
allowed  only  to  sing  in  it;  from 
1830-46  he  conducted  opera  in 
London,  producing  several  operas, 
Don  Carlos  being  the  best;  he 
conducted  the  Philharmonic,  Sacred 
Harmonic  Society,  Birmingham  and 


Leeds  Festivals,  Her  Majesty's  Opera 
after  1871.  Beside  opera  and  ballets, 
wrote  oratorios  Naaman,  Eli.  Son 
Carlo  (1826-1888),  teacher  of  theory 
at  Naples  Cons. 

Couperin  (ko-pe"-ran),  distinguished 
family  of  French  musicians,  all  of 
whom  were  orgts.  at  St.  Gervais, 
Paris.  First  musical  generation  con- 
sisted of  three  brothers,  sons  of 
Charles  I  and  Marie  of  Chaume  in 
La  Brie.  Louis,  the  eldest  (1630- 
1665),  was  1st  vlt.  in  the  king's 
band  and  left  3  harpsichord  suites. 
The  second  was  Francois  I  (1631- 
1698);  his  son  was  Nicolas  (1680- 
1748),  and  his  son  in  turn  Armand- 
Louis  (1725-89),  who,  in  addition  to 
the  family  post,  was  orgt.  at  two 
other  churches,  at  the  private 
chapel,  and  one  of  four  orgts.  at 
Notre  Dame;  he  published  some 
music  for  harpsichord  and  violin. 
His  two  sons  Pierre  Louis  (d.  1789) 
and  Francois  Gervais  (d.  1823?)  were 
the  last  to  hold  position. 

The  third  of  the  3  sons  of  Charles  I, 
Charles  II  (1638-1669),  was  the 
father  of  the  greatest,  Francois  II, 
surnamed  Le  Grand,  b.  Paris,  Nov. 
10,  1668;  d.  there,  1733.  He  was 
pupil  of  Thomelin;  orgt.  at  Ver- 
sailles 1693,  at  St.  Gervais  probably 
before  1693;  clavecinist  and  organist 
to  the  king  1701.  He  was  the  first 
great  composer  for  the  harpsichord 
as  distinct  from  the  organ;  by  the 
melodic  content  of  his  music,  his 
wealth  of  idea,  sense  of  what  was 
suitable  to  his  instr.  he  had  impor- 
tant influence  on  his  time;  tried  to 
represent  customs  of  his  country  (rus- 
tic fetes,  etc.)  in  music,  even  to  give 
Eictures  of  individuals  famous  in 
istory  and  mythology;  especially 
perfected  rondo  form. 

Couppey,  Le,  see  Le  Couppey. 

Courvoisier  (kor-vo-a-zi-a),  Carl,  vlt. 
b.  Basel,  Nov.  12,  1846;  d.  Liverpool, 
Apr.,  1908.  Pupil  at  Leipzig  Cons, 
of  David  and  Rontgen,  and  of  Joa- 
chim; while  conducting  in  Frank- 
fort studied  singing  with  G.  Barth; 
condr.  of  theatre  and  choral  soc.  in 
Dusseldorf;  teacher  of  singing  in 
Liverpool  since  1885;  has  published 
symph.,  vln.  concerto,  etc.,  and 
valuable  Die  Violintechnik. 


COUSSEMAKER 


CRESCENTINI 


Coussemaker  (kos-mak-ar'),  Charles 
Edmond  Henri de,  ivriter.  b.  Bailleul, 
France,  Apr.  19,  1835;  d.  Bourbourg, 
Jan.  10,  1876.  Father,  a  judge; 
showed  precocious  ability  on  pf.,  vln., 
and  'cello;  while  studying  at  Douai 
Lycee  learned  harmony  from  Mo- 
reau,  and  later  comp.  from  Reicha 
and  others  in  Paris;  while  acting  as 
judge  in  various  towns,  he  carried 
on  valuable  researches  in  musical 
history,  especially  harmony  of  the 
Middle  Ages. 

Coverley,  Robert,  compr.  b.  Oporto, 
Portugal,  Sept.  6,  1863.  Studied 
composition  in  London  with  Ludwig, 
Jacquinot,  and  Weisthill,  etc.;  came 
to  New  York  1884,  returned  to  Lon- 
don 1897;  has  composed  many  pf. 
works  and  very  many  widely  popu- 
lar songs. 

Coward,  Henry,  chorus  condr.  b.  Liver- 
pool, Nov.  26,  1849.  From  9-22 
worked  in  Sheffield  at  cutlery;  from 
22-39  taught  school,  having  pre- 
pared himself  in  spare  time;  at  39 
devoted  himself  to  music;  Mus.  Doc. 
1894;  compositions,  cantatas,  etc. 
of  no  importance  compared  to  re- 
markable success,  due  to  original 
methods,  as  a  trainer  of  choruses, 
evidenced  especially  in  Sheffield 
Mus.  Festival. 

Cowen,  Frederic  Hymen,  compr.  b. 
Kingston,  Jamaica,  Jan.  29,  1852. 
Very  early  showed  love  for  music; 
pupil  in  England  of  Goss  and  Bene- 
dict; gave  a  concert  1859;  1865  won 
but  abandoned  Mendelssohn  Scholar- 
ship; studied  at  Leipzig  Cons,  with 
Plaidy,  Moscheles,  Reinecke,  etc.; 
after  few  appearances  in  Eng.  1866, 
went  to  Berlin  1867,  where  he  studied 
conducting  under  Kiel;  accompanist 
under  Mapleson  and  Costa;  1888- 
1892  condr.  of  Philharmonic  Soc.; 
1888  condr.  at  Melbourne  Exhibi- 
tion, also  at  Manchester,  Liverpool, 
and  various  festivals;  reappointed 
at  Philharmonic  1900,  he  instituted 
valuable  reforms.  He  has  composed 
4  operas,  all  of  which  have  been  per- 
formed, and  several  successful  can- 
tatas, The  Rose  Maiden,  The  Cor- 
sair, chamber  music,  suites,  over- 
tures, and  5  symph.,  of  which  No.  3 
"  Scandinavian  "  first  brought  C. 
into  prominence  in  1880.  No.  4 


"Welsh"  also  has  interest  gained 
by  local  color,  which  C.  handles  with 
dexterity  and  ease. 

Cowles,  Eugene,  singer,  compr.  b. 
Stanstead,  Canada.  Father,  a  phy- 
sician, and  mother  were  both  excel- 
lent singers;  showed  early  aptitude 
for  music,  studied  vln.;  educated  at 
Stanstead  Wesleyan  College;  at  19 
went  to  Chicago,  clerk  in  First  Na- 
tional Bank,  studied  singing  and 
harmony  with  A.  E.  Ruff,  sang  in 
church  choir  and  concerts;  1888 
joined  the  Bostonians  as  leading 
basso,  making  d£but  as  Squire  Ban- 
tam in  Dorothy;  with  the  Bostonians 
ten  years,  created  role  of  Scarlett 
in  Robin  Hood;  sang  with  Alice 
Nielsen,  Fritzi  Scheff  and  others; 
1910  with  Victor  Herbert's  opera 
Sweet  Sixteen.  Has  written  many 
songs,  the  most  successful  being  the 
ballad  Forgotten;  also  five  bass  songs, 
A  Gipsy  King  am  I,  etc. 

Cramer  (kra-mer),  Johann  Baptist,  pst., 
teacher,  b.  Mannheim,  Feb.  24, 
1771;  d.  London,  Apr.  16,  1858. 
Son  of  Wilhelm  (1745-Oct.  5,  1799), 
vlt.  and  condr.;  brother  of  Franz  or 
Frangois  (1772-1848),  vtt.,  and  of 
Carl  (b.  1780),  pst.  Brought  to  Lon- 
don when  a  year  old,  he  always 
considered  it  as  home.  He  was 
taught  by  his  father,  by  Benser, 
Schroeter,  Clementi,  and,  though  he 
had  some  lessons  in  thorough-bass 
from  Abel,  taught  himself  composi- 
tion. After  d6but  as  player  in  1781, 
he  made  professional  tours  on  the 
Continent,  spending  some  time  in 
Munich  and  Paris,  earning  fame  as 
player  and  teacher.  In  1824  he 
established  a  publishing  house  still 
known  as  Cramer  &  Co.  He  retired 
in  1835.  His  playing  was  remark- 
able for  his  legato  touch  and  his 
ability  to  distinguish  inner  parts; 
Beethoven  admired  it  above  all 
others.  His  music,  sonatas,  etc.  is 
solid  and  often  dry;  his  chief  claim 
to  fame  rests  on  his  polished  and 
solid  studies,  which  are  second  only 
to  dementi's  in  practical  usefulness, 
without  loss  of  musical  interest. 

Crescentini  (kres-shen-te'-ni),Girolamo, 
singer,  b.  Urbania,  near  Urbino, 
Feb.  2,  1766;  d.  Naples,  Apr.  24, 
1846.  Gibelli  trained  his  beautiful 


CRISTOFORI 


CROWEST 


mezzo  soprano  voice,  and  after  his  i 
de"but  in  Rome  in    1783  he  sang  in 
London  (where  he  had  no  success)  j 
and  all  the  Italian  capitals;    Napo-  ] 
leon    heard    him    at    Vienna    and 
engaged  him  for  Paris  where  he  sang 
1806-12;      after     1816     taught     at 
Naples.      One    of    the    last    of    his 
school,  he  was  evidently  of  the  finest, 
for  his  singing  is  praised  not  only 
for  richness  of  tone  but  for  force  of 
expression;  he  also  composed  songs, 
vocalises,  and  method. 

Cristofori,  Bartolommeo  di  Francesco 

[incorrectly  written  Christofani],  in- 
ventor of  pf.  b.  Padua,  May  4, 
1653;  d.  Florence,  Mar.  17,  1731. 
Harpsichord  maker  in  Padua;  in- 
duced to  go  to  Florence  by  Prince 
Ferdinand,  son  of  Grand  Duke 
Cosimo  III;  after  Prince's  death,  in 
charge  of  instruments  he  had  left. 
In  1711  Maffei  published  an  account 
of  four  "  gravicembali  col  piano  e 
forte  "  which  C.  had  made,  and  gave 
diagram  to  show  the  action  of  the 
key,  lever,  hopper,  and  hammer 
upward  against  the  string,  in  place 
of  quills  which  plucked  the  strings 
in  the  usual  harpsichord.  The  exist- 
ence of  this  diagram  and  of  actual 
instruments  bearing  C's  name  as 
"  inventor  "  and  dates  as  early  as 
1720  and  1726  seem  to  prove  the 
right  of  the  instrument  to  its  Italian 
name  by  proving  C.  the  actual 
inventor  of  its  distinguishing  feature. 
(But  see  Schroeter,  C.  G.) 

Croce  (kro-che),  Giovanni  dalla,  compr. 
b.  Chioggia,  about  1557;  d.  Venice, 
May  15,  1609.  Pupil  of  Zarlino, 
chorister  and  leader  at  St.  Mark's; 
maestro  1603;  also  ordained  priest; 
composed  madrigals,  motets,  fine 
but  not  remarkably  original;  Triaca 
Musicale,  volume  of  comic  part- 
songs  in  Venetian  dialect,  including 
dialogue  between  cuckoo  and  night- 
ingale, has  unique  interest. 

Croft  [or  Crofts],  William,  compr.  b. 
Nether  Ettington,  Warwick,  1678 
(baptized  Dec.  30);  d.  Bath,  Aug. 
14,  1727.  Chorister  in  Chapel  Royal 
under  Blow;  orgt.  at  St.  Anne's,  at 
Chapel  Royal,  and  (1708)  at  West- 
minster, and  composer  to  Chapel 
Royal;  Mus.  Doc.  Oxford  1713; 
composed  many  fine  anthems  and 


psalm  tunes;  published  1712  Divine 
Harmony,  words  of  anthems  with 
historical  account;  1724  Musica 
Sacra,  30  anthems  of  his  own,  first 
volumes,  he  says,  engraved  in  score 
on  plates;  at  least  first  in  England. 

Cross,  Michael  Hurley,  orgt.  b.  Phila- 
delphia, Apr.  13,  1833;  d.  there, 
Sept.  26,  1897.  Pupil  of  B.  Cross, 
Meignen,  etc.;  orgt.  at  St.  Patrick's, 
the  Cathedral,  and  for  17  years  at 
Holy  Trinity;  director  of  societies 
in  Phila.  and  N.  Y.;  had  many 
pupils  (J.  G.  Huneker  among  them) 
and  great  influence  on  musical  life 
in  Phila. 

Crotch,  William,  compr.  b.  Norwich, 
Eng.,  July  5,  1775;  d.  Taunton, 
Dec.  29,  1847.  Son  of  a  carpen- 
ter, his  extraordinary  precocity  (he 
played  on  a  small  organ  at  a  little 
over  2,  and  performed  in  public  at  4) 
was  the  subject  of  articles  by  Daines, 
Barrington,  and  Burney;  he  studied 
music  and  theology  at  Oxford;  was 
orgt.  and  prof,  at  Oxford  Univ., 
lectured  at  Mus.  School;  1822  1st 
principal  Royal  Acad.  Composed 
3  oratorios,  one  at  age  of  14,  glees, 
odes  (Methinks  I  hear  most  popular), 
Elements  of  Mus.,  etc. 

Crouch,  Frederick  Nicholls,  'cellist,  b. 
London,  July  31,  1808;  d.  Balti- 
more, Md.,  Aug.  18,  1896.  Pupil 
of  grandfather  and  father,  of  Bochsa, 
and  at  Royal  Acad.  of  others; 
'cellist  in  various  orch.  in  England 
and  America  after  1849;  condr. 
Mrs.  Rush's  Saturday  Concerts, 
Phila.;  founder  unsuccessful  acad. 
in  Washington;  Confederate  soldier; 
teacher  in  Baltimore;  famous  as 
composer  of  Kathleen  Mavourneen. 

Crow,  Edwin  John,  orgt.  b.  Sitting- 
bourne,  Kent,  Eng.,  Sept.  17,  1841; 
d.  Dec.,  1907.  Pupil  of  E.  J.  Hop- 
kins; orgt.  of  3  churches  in  Leicester, 
and  Ripon  cathedral;  Mus.  Doc. 
1882;  comp.  cantata  and  ch.  music; 
examiner  for  Incorp.  Soc.  of  Mus. 

Crowest,  Frederick  J.,  writer,  b.  Lon- 
don, 1850.  For  some  years  had 
success  as  tenor,  under  name  of 
Arthur  Vitton.  Orgt.  and  compr., 
but  chiefly  known  as  author  of 
readable  books  of  biography  and 


CRUVELLI 


CUZZONI 


anecdote,  The  Great  Tone  Poets, 
Phases  of  Musical  England,  Story  of 
British  Music,  etc. 

Cruvelli,  Johanne  Sophie  Charlotte, 
singer,  b.  Bielefeld,  Mar.  12,  1826; 
d.  Nice,  Nov.,  1907.  Real  name 
Criiwell;  sister  Friedericke  Marie 
(1824-1868);  enjoyed  short-lived  suc- 
cess as  natural  singer;  Sophie's 
voice  beautiful  but  full  of  faults 
owing  to  lack  of  training;  brilliant 
d6but  Venice  1847;  partial  failure 
in  London  1848  (due  to  greater 
charms  of  Jenny  Lind)  was  fol- 
lowed by  success  in  Paris,  where  she 
was  finally  engaged  at  the  Ope"ra 
1854;  married  Count  Vigier  and 
retired  1856;  especially  successful 
in  Verdi's  operas;  her  great  triumph 
at  Paris  in  '51  was  in  Ernani. 

Cui  (kooi'),  Cesar  Antonovitch,  compr. 
b.  Vilna,  Poland,  Jan.  18,  1835. 
By  profession  a  military  engineer, 
he  is  an  authority  on  fortification 
on  which  he  lectures  at  the  Artillery 
School;  in  1857  his  early  taste  for 
music  was  revived  by  meeting  with 
Balakirev,  whose  disciple  he  be- 
came; chief  works  are  Angela  1876, 
Flibustier  1889,  4  orch.  suites,  about 
200  songs,  and  pf.  pieces.  Despite 
fact  that  he  is  exponent  of  theories 
of  New  Russian  School  (La  musique 
en  Russie)  his  own  music  lacks 
.  definite  national  coloring;  he  in- 
clines to  small  and  elaborated  forms, 
even  in  larger  choral  works,  with  a 
resulting  feeling  of  affectation;  crit- 
ical writings  of  value  to  Russia,  in 
calling  attention  to  German  music, 
and  of  interest  to  others  in  their 
revelation  of  Russian  opinions. 

Cummings,  William  Hayman,  singer,  b. 
Sidbury,  Devon,  Aug.  22, 1831.  Chor- 
ister in  St.  Paul's,  singer  in  the  Tem- 
ple Ch.,  Westminster,  Chapel  Royal; 
opera  singer  1870;  concert  singer 
at  various  festivals,  in  U.  S.  1871; 
teacher  at  Royal  Acad.  and  prin- 
cipal 1896-1910  Guildhall  School; 
founder  of  Purcell  Society;  author 
of  Life  of  Purcell,  Primer  of  Rudi- 
ments of  Mus.,  biog.  diet.,  the  usual 
compositions, —  cantata,  part-song, 
etc.;  learned  in  antiquarian  details. 

Curschmann,  Karl  Friedrich,  compr. 
b.  Berlin,  June  21,  1804;  d.  Lang- 
fuhr,  near  Danzig,  Aug.  24,  1841. 


Turned  his  attention  from  law  to 
music  in  20th  year;  after  study 
with  Spohr  and  Hauptmann  settled, 
with  occasional  concert  tours,  in 
Berlin;  before  Schubert  and  Schu- 
mann were  known,  composed  about 
90  simple  songs,  melodious  and 
worthy  of  the  place  they  have  held 
in  the  amateur's  repertoire. 

Curwen,  John,  teacher,  b.  Heckmond- 
wike,  Yorkshire,  Nov.  14,  1816;  d. 
Manchester,  May  26,  1880.  A  non- 
conformist minister,  seeking  simple 
method  of  teaching  people  to  sing, 
he  adopted  system  invented  by  Miss 
S.  A.  Glover,  which  he  developed  as 
Tonic-Sol-Fa  method;  gave  up  min- 
istry 1864;  Ass'n  founded  1853,  and 
College  1875,  opened  1879;  numer- 
ous publications  relate  chiefly  to 
the  method  and  to  the  art  of  teach- 
ing; many  arrangements  in  Sol-Fa 
of  masterpieces. 

Cusins,  Sir  William  George,  orgt.  b. 
London,  Oct.  14,  1833;  d.  Remou- 
champs  (Ardennes),  Aug.  31,  1893. 
Chorister  at  Chapel  Royal,  pupil  of 
F£tis  at  Brussels  Cons.,  and  of 
Potter,  Sterndale  Bennett,  etc.  at 
Royal  Acad.;  orgt.  Queen's  Private 
Chapel;  vlt.  Roy.  Italian  Opera; 
prof.  Royal  Acad.  and  Guildhall; 
examiner  Queen's  Coll.  and  Nat'l 
Training  Sch.;  condr.  Philharmonic 
1867-83;  composed  2  concert  over- 
tures, oratorio,  marches,  etc. 

Cutter,  Benjamin,  compr.  b.  Woburn, 
Mass.,  Sept.  6,  1857;  d.  May  10, 
1910.  Son  of  physician;  studied  vln. 
with  Eichberg  and  harmony  with 
Emery,  comp.  with  Seifriz  in  Stutt- 
gart; member  of  Bost.  Symph.  Orch. ; 
teacher  of  vln.  and  harmony  N.  E. 
Cons.;  has  written  text-books  on 
harmony  and  vln.  playing,  chamber 
music,  a  cantata  Sir  Patrick  Spens, 
a  Mass  in  D,  Harmonic  Analysis, 
and  How  to  Study  Kreutzer. 

Cuzzoni  (koot-zo'-ne),  Francesca,  dram, 
contralto,  b.  Parma  or  Modena, 
about  1700;  d.  Bologna,  1770. 
Pupil  of  Lanzi;  debut  Venice  1719; 
appeared  in  London  1722,  where  she 
married  Sandoni,  attained  such  suc- 
cess in  Handel's  operas  that  she 
became  rival  of  Faustina;  in  1728, 
dismissed  by  being  offered  a  guinea 
less  than  Faustina,  sang  in  Venice, 


CZERNY 


DAMROSCH 


and  again  in  London  in  1734,  and 
for  an  unsuccessful  benefit  in  1750; 
imprisoned  for  debt  in  Holland,  she 
ended  her  life  in  Bologna  as  a  button- 
maker,  in  great  poverty. 

Czerny  (char'-ni),  Carl,  pst.,  teacher. 
b.  Vienna,  Feb.  20,  1791;  d.  there, 
July  15,  1857.  Taught  by  his 
father,  Wenzel,  and  by  Beethoven, 
who  took  great  interest  in  him; 
influenced  by  acquaintance  with 
dementi  and  Hummel;  professional 
tour  planned  for  1804  having  been 
abandoned  he  gave  up  concert  play- 
ing and  remained  in  Vienna  all  his 
life,  except  for  a  short  trip  to  Leip- 
zig 1836,  one  to  Paris  and  London 
1837,  and  one  to  Lombardy  1846. 
His  gentle  nature  shrank  from  the 
harshness  of  the  world  and  he  lived 
with  his  parents  in  a  charming 


domesticity  which  Beethoven  envied 
and  wished  to  share;  his  days  and 
nights  were  filled  with  industrious 
work.  He  was  a  most  prolific  com- 
poser; beside  nearly  a  thousand 
printed  compositions,  he  left  many 
Mss.  Though  he  composed  in  all 
forms,  the  only  works  now  used  are 
his  pf.  studies  which  are  of  perma- 
nent value.  His  great  success  as  a 
teacher  is  shown  by  the  fact  that 
he  taught  Ninette  von  Belleville 
(Mme.  Oury),  Jaell,  Thalberg,  Doh- 
ler,  Theod.  KulJak,  and  Liszt. 

Czibulka  (tche-bool'-ka),  Alphons, 
compr.  b.  Szeges-Varallya,  Hun- 
gary, May  14,  1842;  d.  Vienna,  Oct. 
27,  1894.  Pst.,  condr.  at  Karl- 
theater;  bandmaster  Viennese  regts.; 
composed  pf.  music,  dance  music, 
and  6  operettas. 


Dalayrac  (da-la-rak'),  Nicolas,  compr. 
b.  Muret,  Haute-Garonne,  June  13, 
1753;  d.  Paris,  Nov.  27,  1809.  Musi- 
cal tastes  persisting  despite  his 
father's  efforts  to  turn  him  to  law 
or  the  army,  he  became  pupil  of 
Langl6;  wrote  first  operetta  Le  petite 
souper  1781  and  thereafter  wrote 
one  or  two  a  year,  even  Curing  the 
Revolution;  about  60  in  all,  which 
seem  to  have  been  popular,  but 
none  permanent,  Les  deux  Savoyards 
perhaps  best  known;  also  distin- 
guished as  chess  player. 

D'Albert,  Eugen,  see  Albert,  Eugen  d'. 

Dalcroze,  Emile  Jaques-,  compr.  b. 
Vienna,  July  6,  1865.  Of  Swiss 
parentage,  educated  at  univ.  and 
cons,  of  Geneva;  pupil  of  R.  Fuchs 
and  Bruckner  at  Vienna,  and  of 
Delibes  in  Paris;  teacher  at  Geneva 
Cons.  1892;  comp.  2  operas  and  3  can- 
tatas, a  boldly  revolutionary  vln.  con- 
certo, popular  string  quartet,  and, 
especially,  various  collections  of 
songs,  Chansons  enfantines,  Chez 
nous,  etc.,  which  are  extremely  pop- 
ular in  Switzerland  and  Germany  be- 
cause of  their  humorous  and  local 
characteristics;  author  of  a  method 
of  training  children  which  embodies 
rhythmic  movements;  removed  to 
Dresden,  1910. 


Damm,  G.,  see  Steingraber. 

Damoreau  (da-mo-ro),  Laure  Cinthie, 

[nee  Montalant],  singer,  b.  Paris,  Feb. 
6, 1801 ;  d.  there,  Feb.  25, 1863.  Pupil 
at  Paris  Cons,  at  age  of  7;  debut 
Paris  at  18  as  Mile.  Cinti;  sang  in 
London  with  indifferent  success  1822; 
had  success  at  Op£ra  1826-35,  espe- 
cially in  parts  which  Rossini  comp. 
for  her  (Siege  de  Corinth  and  Moise) ; 
at  Ope>a  Comique  1835-43,  where 
Auber  also  wrote  for  her;  married 
actor  Damoreau  1827;  retired  1843, 
but  made  tours  after  that  to  U.  S., 
St.  Petersburg,  etc.;  prof,  at  Cons. 
1833-34,  1836-56;  published  songs 
and  method. 

DaMotta  (da-mot' -ta),  JoseVianna,  pst. 
b.  Isle  of  St.  Thomas,  Africa,  1868. 
Went  at  early  age  to  Lisbon,  where 
studied  at  Cons.;  after  d^but  at  14 
King  Ferdinand  sent  him  to  Berlin, 
where  he  studied  with  Ph.  and  X. 
Scharwenka;  later  with  Liszt,  Schaf- 
fer,  and  Von  Biilow;  successful  tours 
in  Europe  and  S.  America  1902;  com- 
posed for  pf.  and  orch.  (Portuguese 
Scenes,  and  Rhapsodies)',  written  on 
Von  Biilow,  Liszt,  etc.;  now  in  Berlin. 

Damrosch  (dam'-rosh),  Leopold,  condr. 
b.  Posen,  Oct.  22,  1832;  d.  New 
York,  Feb.  15,  1885.  Took  degree 


DANA 


DA  PONTE 


of  M.D.  at  Berlin  Univ.,  but  did 
not  practise;  pupil  of  Ries,  Dehn, 
and  Bohmer;  appeared  as  solo  vlt. 
Magdeburg  1855;  leading  vlt.  at 
Weimar  1855-59,  where  he  became 
intimate  with  Liszt  and  Wagner,  and 
where  he  married  singer  Helene  v.on 
Heimburg;  1859-60  condr.  Breslau 
Philh.;  toured  with  Von  Billow  and 
Tausig;  1871  called  to  N.  Y.  to  con- 
duct Arion  Soc.;  organized  Oratorio 
Soc.  and  Symphony  Soc.;  conducted 
Philharmonic  1876-77;  conducted 
first  Mus.  Festival  N.  Y.  1881;  toured 
West  1883;  established  and  con- 
ducted season  of  German  opera  at 
Metropolitan;  his  wonderful  organ- 
izing powers  and  keen  interest  in 
newer  music  inspired  and  encouraged 
music  in  N.  Y.  His  son  Frank  also 
condr.  b.  Breslau,  June  22,  1859. 
Pupil  of  his  father,  Pruckner,  Mosz- 
kowski,  etc.;  condr.  Denver  Chorus 
Club  1882-85;  chorusmaster  at  Met- 
ropolitan 1885-91;  condr.  of  Mus. 
Art  Soc.,  and  many  other  organiza- 
tions; 1892  organized  People's  Sing- 
ing Classes,  for  instruction  of  wage- 
earners  in  sight  and  chorus  singing, 
an  institution  which  has  been  ex- 
tremely successful.  Now  director  of 
Institute  of  Musical  Art,  N.  Y.  His 
brother  Walter  Johannes,  condr., 
compr.  b.  Breslau,  Jan.  30,  1862. 
Studied  with  his  father,  Draeseke,  and 
Von  Biilow;  asst.  condr.  Metropoli- 
tan under  father  and  Seidl;  condr. 
Oratorio  and  Symph.  Soc.;  1894  or- 
ganized Damrosch  Opera  Co.,  which 
gave  German  opera  throughout  U.  S. 
until  1899;  condr.  Metropolitan 
1900-1902;  Philh.  1902-03;  New 
York  Symphony  Orchestra;  com- 
posed opera  The  Scarlet  Letter,  one 
of  few  American  operas  actually 
produced  (Boston,  1896). 

Dana,  Charles  Henshaw,  orgt.  b.  West 
Newton,  Mass.,  Feb.  7,  1846;  d. 
Worcester,  Feb.  5,  1883.  Pupil  of 
Dresel  in  Boston;  studied  in  Paris 
and  Stuttgart;  d6but  as  pst.  Stutt- 
gart and  in  America  in  Worcester; 
orgt.  at  Ch.  of  Immaculate  Con- 
ception, Boston,  and  in  Worcester; 
composed  church  music  and  songs. 

Dana,  William  Henry,  teacher.  b. 
Warren,  O.,  June  10,  1846.  Pupil 
of  Aug.  Haupt,  and  at  Kullak's 
Cons.,  Berlin,  and  Royal  Acad., 


London;  director  Dana's  Mus.  Inst. 
in  Warren;  one  of  founders  Mus. 
Teachers'  Nat'l  Ass'n;  has  published 
text-books  on  harmony  and  orches- 
tration and  church  music. 

Dancla  (don-kla) ,  Jean  Baptiste  Charles, 
vlt.,  compr.  b.  Bagneres,  Dec.  19, 
1817;  d.  Tunis,  Nov.  8  or  9,  1907. 
At  Paris  Cons,  studied  with  HaleVy 
and  Berton,  vln.  with  Baillot;  1834 
member  Op6ra  Comique  orch.;  made 
prof,  at  Cons.  1857-1892;  famous  for 
playing  at  Soci6t6  des  Concerts  and 
at  his  Quartet  Soire'es;  his  130  com- 
positions are  graceful  and  well  suited 
to  his  instrument  but  are  not  of  en- 
during worth;  Etudes  of  value;  as  a 
player  he  was  last  representative  of 
old  French  school;  many  pupils, 
among  them  C.  Loeffler  and  Adam- 
owski. 

Danks,  Hart  Pease,  compr.  b.  New 
Haven,  Apr.  6,  1834;  d.  Philadel- 
phia, Nov.  20,  1903.  Pupil  of  L.  E. 
Whiting;  in  Chicago  1854-64,  then 
in  N.  Y.;  singer  and  director  in  sev- 
eral churches,  prolific  compr.  of  songs 
and  hymns;  one  operetta,  Pauline, 
produced  1872. 

Dannreuther  (dan'-roi-ter),  Edward 
George,  condr.,  writer,  b.  Strass- 
burg,  Nov.  4,  1844;  d.  London,  Feb. 
12,  1905.  Taught  by  F.  L.  Ritter  in 
Cincinnati,  by  Richter,  Moscheles, 
and  Hauptmann  at  Leipzig  Cons.;  pf. 
teacher  in  London;  founder  and 
condr.  London  Wagner  Soc.;  has 
written  on  Wagner,  translated  some 
of  his  works,  and  written  articles  on 
various  subjects.  His  brother  Gus- 
tav,  vlt.  b.  Cincinnati,  July  21, 1853. 
Studied  with  De  Ahna  and  Joachim 
in  Berlin;  member  of  (Boston,  Mass.) 
Mendelssohn  Quintet  Club  on  tour 
1877-1880;  of  Bost.  Symph.  Orch. 
1880-82;  condr.  in  Buffalo  and  under 
Damrosch  in  N.  Y.;  well  known  as 
teacher  and  member  of  excellent 
Dannreuther  Quartet. 

Da  Ponte,  Lorenzo,  librettist,  b.  Ceneda, 
near  Venice,  Mar.  10,  1749;  d.  New 
York,  Aug.  17,  1838.  While  poet 
laureate  to  Joseph  II  wrote  librettos 
for  Mozart's  Don  Giovanni  and  Cosl 
fan  tutte;  career  in  London  as  poet  to 
Ital.  Opera  and  after  1805  in  America 
as  impresario  and  teacher  of  Italian. 


DAQUIN 


DAVIES 


Daquin  (da-kan),  Louis  Claude,  orgt. 
b.  Paris,  July  4,  1694;  d.  there,  June 
15,  1772.  Pupil  of  Marchand,  orgt. 
at  St.  Antoine  at  age  of  12;  1727  won 
in  competition  with  Rameau  position 
of  orgt.  St.  Paul's,  which  he  held  till 
his  death;  published  pieces  for  harp- 
sichord, Coucou  being  one,  a  volume 
of  Noels,  for  the  organ  or  clavichord, 
and  a  cantata. 

Dargomyzski  (dar-go-mizh'-ski),  Alex- 
ander Sergeivitch,  compr.,  pst.  b.  in 
prov.  of  Toula,  Russia,  Feb.  14,  1813; 
d.  St.  Petersburg,  Jan.  29,  1869. 
Educated  in  St.  Petersburg;  of  good 
family;  for  four  years  in  gov't  service; 
taught  as  an  amateur  by  Schober- 
lechner,  and  deeply  influenced  by 
friendship  of  Glinka;  composed 
Esmeralda  1839  (prod.  1847)  and 
Roussalka  1856,  and  many  beautiful 
and  expressive  songs;  after  visit  to 
France  and  Germany  became  asso- 
ciated with  Balakirev  and  New 
School,  of  whose  doctrines  his  opera 
The  Stone  Guest  has  been  called 
"  The  Gospel ";  in  this  work  (or- 
chestrated after  D's  death  by  Rim- 
sky-Korsakov  and  performed  1872) 
older  forms  are  abandoned  entirely 
for  continuous  recitative.  Though 
none  of  his  works  were  especially 
successful,  D.  is  regarded  by  some 
as  the  apostle  of  a  new  cult. 

David  (da-ved),  Felicien  Cesar,  compr. 
b.  Cadenet,  Vaucluse,  Apr.  3,  1810; 
d.  St.  Germain-en-Laye,  Aug.  29, 
1876.  Of  precocious  talent,  he  was 
educated  at  the  Maitrise  of  St.  Sau- 
veur  at  Aix,  where  in  1829,  after 
three  years  in  Jesuit  college  and  one 
as  theatre  condr.,  he  became  maitre 
de  chapelle;  1830  entered  Paris  Cons, 
where  he  studied  with  Millot  and 
F4tis,  and  took  private  lessons  of 
Reber;  1831-33  lived  with  a  brother- 
hood of  St.  Simoniens;  1833-35  wan- 
dered with  some  of  the  brothers  to 
Egypt  and  the  East;  the  strong  im- 
pressions received  were  expressed 
in  Le  desert,  "  ode  symphonic,"  1844, 
which  had  great  success;  later  he 
composed  7  or  8  operas,  of  which 
Lalla  Rookh  was  perhaps  most  suc- 
cessful; 1869  succeeded  Berlioz  as 
member  of  Academy  and  librarian  of 
Cons.  Le  desert  best  expression  of 
his  characteristic  note  of  picturesque 
and  melancholy  quiet. 


David,  Ferdinand,  vlt.  b.  Hamburg, 
June  19, 1810;  d.  near  Klosters,  Swiss 
Alps,  July  18,  1873.  Of  precocious 
talent  he  studied  with  Spohr  and 
Hauptmann  at  Kassel;  1827-28  mem- 
ber of  orch.  at  Berlin  Theatre;  1829- 
35  in  Russia,  as  member  of  private 
quartet,  and  concert  player;  by  in- 
fluence of  Mendelssohn  was  ap- 
pointed concertmaster  of  Gewand- 
haus  Orch.  1836,  and,  when  Cons, 
was  opened  1843,  teacher  of  vln.  As 
teacher  he  had  wide  influence  over 
many  distinguished  pupils,  among 
them  Joachim  and  Wilhelmj;  as  a 
player  he  combined  solid  technic 
with  remarkable  facility  of  expres- 
sion; as  a  leader  and  especially  as  a 
quartet  player  he  was  unrivaled. 
He  wrote  a  valuable  Violin  School, 
edited  numerous  works  of  older 
masters,  composed  for  vln.,  2  sym- 
phonies, etc.;  had  great  influence 
over  compositions  of  others,  esp. 
Mendelssohn's  vln.  concerto. 

Davidov  (da-vid'-off),  Charles,  'cellist. 
b.  Goldingen,  Courland,  Mar.  17, 
1838;  d.  Moscow,  Feb.  15,  1889. 
Studied  mathematics  at  Moscow 
Univ.,  'cello  with  Schmidt  in  Mos- 
cow and  Schuberth  at  St.  Peters- 
burg; debut  1859  at  Leipzig  where  he 
became  'cellist  in  Gewandhaus  Orch. 
and  teacher  at  Cons.;  1862  'cellist 
at  St.  Petersburg  Opera,  professor, 
and  1876-86  director  St.  P.  Cons.; 
wrote  admirable  method,  concertos, 
symph.  poem,  etc. 

Davies,  Benjamin  Grey,  tenor,  b. 
Pontardawe,  near  Swansea,  Wales, 
Jan.  6,  1858.  Son  of  an  engineer; 
chorister  in  Wales ;  at  20  he  earned 
a  prize  which  enabled  him  to 
study  at  Roy.  Acad.  with  Fori  and 
Randegger;  operatic  debut  1881; 
then  in  various  English  opera  com- 
panies; married  Clara  Perry  1885; 
since  about  1890  has  been  increas- 
ingly in  demand  for  festival  and 
concert  engagements  to  exclusion  of 
dramatic  work. 

Davies,  [David  Thomas]  Ffrangcon, 
baritone,  b.  Bethesda,  Carnarvon, 
Dec.  11,  1860.  After  taking  M.A. 
from  Oxford  he  took  orders,  but  relin- 
quished them  later;  received  instruc- 
tion in  singing  at  Guildhall  School 
from  Latter  and  from  Shakespeare 


DAVIES 


DELACOUR 


and  Randegger;  concert  and  operatic 
debuts  1890;  since  1893  has  kept  to 
concert  and  festival  singing. 

Davies,  Fanny,  pst.  b.  Guernsey,  June 
27,  1861.  Pupil  at  Leipzig  Cons,  of 
Reinecke,  Jadassohn,  and  Paul  (pf.), 
and  of  Clara  Schumann,  from  whom 
she  learned  "accurate  technique,  full 
tone,  and  power  of  phrasing  "  that 
have  made  her  concerts  successful 
since  her  d6but  in  England  in  1885; 
chiefly  distinguished  as  player  of 
Schumann  and  Brahms. 

Davison,  Arabella,  see  Goddard. 

Dawson,  Frederick  H.,  pst.  b.  Leeds, 
July  16,  1868.  Taught  by  his  father 
and  by  Ch.  Halle  at  whose  concerts 
he  appeared  in  1890  encouraged  by 
Rubinstein;  later  continued  suc- 
cess as  a  concert  player. 

Day,  Dr.  Alfred,  theorist,  b.  London, 
Jan.,  1810;  d.  there,  Feb.  11,  1849. 
After  studying  medicine  in  London, 
Paris,  and  Heidelberg,  practised  in 
London;  after  years  of  reflection 
published  1845  Treatise  on  Harmony, 
which  urged  reforms  in  terminology, 
in  bass-figuring,  and  offered  original 
propositions  about  permitted  dis- 
cords. 

Dayas  (das),  William  Humphries,  teach- 
er, b.  New  York,  Sept.  12,  1864;  d. 
Manchester,  May  3,  1903.  Studied 
in  N.  Y.  with  Mills,  Joseffy,  etc.,  in 
Germany  with  Kullak,  Haupt,  and 
Liszt;  taught  at  Cons,  of  Helsingfors, 
Wiesbaden,  and  Cologne;  comp.  org. 
sonata,  string  quartet,  pf.  mus.,  etc. 

De  Ahna,  see  Anna,  Heinrich  Carl 
Hermann  de. 

Debussy  (de-bxis'-si),  Claude  Achille, 
compr.  b.  St.  Germain,  Paris,  Aug. 
22,  1862.  As  pupil  of  Guiraud  at 
Paris  Cons,  won  Prix  de  Rome  with 
cantata  L'enfant  prodigue;  his  La 
demoiselle  elue,  setting  of  Blessed 
Damosel  for  female  chorus  and  orch. 
was  refused  as  too  modern  in  style; 
in  later  works  for  orch.  Prelude  to 
L'apres-midi  d'un  faune,  Nocturnes, 
Le  mer,  in  pf.  pieces,  in  many  songs 
which  well  suit  words  by  Verlaine, 
Baudelaire,  etc.,  and  in  opera  Pelleas 
et  Melisande  (Paris  1902,  N.  Y. 
1907)  he  has  continued  to  develop 
an  original  method  whose  purpose 


is  to  underline  the  emotion  of  the 
words  (in  the  opera  the  voices  carry 
continuous  recitative  above  orches- 
tral phrases),  to  hint  mysteriously 
at  elusive  moods.  Technically  his 
melodies  are  not  remarkable  in 
themselves;  his  "utterance  is  purely 
harmonic,"  and  ultra-modern,  con- 
fined by  no  traditions,  limited  in  its 
ceaseless  modulation  by  no  estab- 
lished key-relations. 

Dehn  (dan),  Siegfried  Wilhelm,  writer. 
b.  Altona,  Feb.  25,  1799;  d.  Berlin, 
Apr.  12,  1858.  Law  student  at 
Leipzig  Univ.;  studied  music  with 
Klein  in  Berlin;  1842,  at  Meyer- 
beer's recommendation,  made  libra- 
rian of  musical  portion  of  Berlin 
Royal  Lib,;  scored,  copied  for  press, 
and  edited  many  works  of  Lassus, 
Bach,  and  earlier  musicians;  edited 
Cecilia  1842-48;  wrote  several  im- 
portant treatises  on  matters  of 
research  and  mus.  theory  of  which 
he  was  successful  teacher;  Glinka, 
Kullak,  and  Anton  Rubinstein  were 
among  pupils. 

Deiters  (di'-ters),  Hermann,  writer,  b. 
Bonn,  June  27,  1833;  d.  Coblenz, 
May  1,  1907.  Studied  law  and 
philology,  held  various  appoint- 
ments; beside  important  contribu- 
tions to  mus.  papers  on  Beethoven, 
Schumann,  etc.,  published  in  1880 
first  authoritative  life  of  Brahms; 
chiefly  notable  for  translation  into 
German  of  A.  W.  Thayer's  great 
Life  of  Beethoven,  pub.  1866-79,  and 
for  revision. 

De  Koven,  [Henry  Louis]  Reginald, 
compr.  b.  Middletown,  Conn.,  Apr. 
3,  1859.  Educated  in  Europe,  degree 
from  Oxford  Univ.;  studied  in 
early  years  with  Speidel  at  Stuttgart, 
later  with  Lebert,  Pruckner,  and 
Hauff ,  singing  with  Vannuccini  in 
Italy,  and  operatic  comp.  with 
Gen6e  and  Delibes;  mus.  critic  in 
N.  Y.;  his  first  successful  operetta 
was  The  Begum  1887;  Robin  Hood, 
the  third  (1890),  is  still  popular  after 
more  than  3000  performances;  later 
works  Fencing  Master,  Rob  Roy,  etc., 
though  successful  have  not  touched 
this  highwater  mark;  composer  of 
over  150  songs  (Oh.  promise  me)  and 
incidental  music. 

Delacour,  Victor,  see  Smith,  E.  S. 


DELATTRE 


DEPRES 


De  Lattre,  Roland,  see  Lasso,  Orlando  di. 

Delibes  (de~-leb'),  Clement  Philibert  Leo, 
compr.  b.  St.  Germain  du  Va'l, 
France,  Feb.  21,  1836;  d.  Paris, 
Jan.  16,  1891.  Studied  solfeggio,  pf., 
org.,  comp.  at  Paris  Cons,  under 
Benoist,  Bazin,  A.  Adam,  at  same 
time  singing  at  the  Madeleine;  1853 
accompanist  at  Th.  Lyrique;  orgt. 
at  several  churches,  at  St.  Jean,  St. 
Frangois  1862-71;  1863  accom- 
panist; 1865-72  2d  chorusmaster 
at  Op6ra;  1881  prof,  of  comp.  at 
Cons.;  after  1855  wrote  successful 
short  comic  operas  Le  jardinier 
et  son  seigneur,  etc.;  also  comp. 
part-songs,  melodies,  Bonjour  Suzon, 
etc.;  Le  roi  I' a  dit  1873  and  Lakme 
1883  most  successful  of  longer 
works ;  chief  distinction  lies  in  charm- 
ing and  original  ballets  Coppelia 
1870,  Sylvia  1876. 

De  Lisle,  Rouget  de,  see  Rouget  de  Lisle. 

Delius  (da-lius),  Frederick,  compr.  b. 
Bradford,  Eng.,  1863.  In  1884  went 
to  Florida  to  be  orange  grower, 
studied  mus.  alone;  1886-88  studied 
at  Leipzig  Con's.;  since  then  has 
lived  in  Paris  and  Fontainebleau; 
concert  of  own  works  London  1899; 
opera  Koangu  produced  Elberfeld 
1904;  Village  Romeo  and  Juliet 
produced  Berlin  1907;  has  com- 
posed for  orch.  Norwegian  Suite, 
Life's  Dance,  Paris;  for  voice  with 
orch.  Seven  Danish  Songs,  Whit- 
man's Sea-drift,  Mass  of  Life  from 
Nietsche's  Zarathustra,  Dowson's 
poems,  a  pf.  and  a  vln.  concerto; 
highly  praised  for  originality  of 
expression,  arrived  at  independently. 

Delle  Sedie  (del'-la-sa-di-a),  Henri, 
baritone,  teacher,  b.  Leghorn,  June 
17,  1826;  d.  Garennes-Colombes, 
Nov.  29,  1908.  While. still  student 
of  Galeffi,  Persanola,  and  Domeni- 
coni  imprisoned  as  revolutionist; 
d6but  Florence  1851;  after  singing 
in  Italy  engaged  at  Th.  Italien,  Paris 
1861;  prof,  at  Cons.  1867-71;  pub. 
valuable  Arte  e  fisiologia  del  canto, 
in  Eng.  as  Vocal  Art;  voice  was 
remarkable  for  its  color  and  range 
of  emotional  expression;  many  fa- 
mous pupils. 

Del  Valle  de  Paz  (der-va-la-da-paz'), 
Edgardo,  pst.,  compr.  b.  Alexandria, 
Egypt,  Oct.  18,  1861.  Studied  at 


Naples  Cons,  with  Cesi  and  Serrao, 
after  tours  in  Italy  and  Egypt 
settled  in  Florence,  where  he  directs 
La  nuova  musica,  and  teaches  in 
Cons.;  pub.  method,  orch.,  chamber, 
and  pf.  music. 

De  Munck,  Francois,  'cellist,  b.  Brus- 
sels, Oct.  6r  1815;  d.  there,  Feb.  28, 
1854.  Pupil  and  successor  of  Platel 
in  Brussels  Cons.;  after  tours  in 
Germany  'cellist  in  London  theatre, 
but  returned  to  Brussels  1853.  Son 
Ernst  (b.  Dec.  21,  1840)  'cellist. 

Dennee  (den-na'),  Charles  Frederick, 
compr.  b.  Oswego,  N.  Y.,  Sept.  1, 
1863.  Studied  at  N.  E.  Cons.  pf. 
with  A.  D.  Turner,  and,  after  an 
interval,  harm,  with  S.  A.  Emery; 
later  pf.  with  Mme.  Schiller;  1888 
accident  to  wrist  made  him  give  up 
playing;  teaches  successfully  at 
Cons,  as  Turner's  successor,  and  has 
written  Progressive  Technic;  also 
composed  comedy  operas  Little  Red 
Riding-hood,  Children's  Festival,  and 
many  pf.  solos  and  duets. 

Denza  (den-tsa),  Luigi,  compr.  b. 
Castellammare  di  Strabbia,  Feb.  24, 
1846.  Studied  at  Naples  Cons,  with 
Serrao  and  Mercadante;  living  in 
London  since  1879;  director  of 
Lond.  Acad.  of  Mus.,  teacher  of 
singing  at  Royal  Acad.;  comp. 
unsuccessful  opera,  and  over  500 
songs,  many  in  Neapolitan  dialect, 
of  which  Funiculi-Funicula  has  at- 
tained universal  popularity. 

Deppe  (dep'-p6),  Ludwig,  pf.  teacher. 
b.  Alverdissen,  Lippe,  Nov.  7,  1828; 
d.  Pyrmont,  Sept.  5,  1890.  Pupil 
of  Marxsen  and  Lobe;  founded  and 
conducted  singing  society  at  Ham- 
burg; court  capellm.  Berlin  1886-88; 
conducted  court  orch.,  and  Silesian 
mus.  festivals;  account  of  his 
method  in  Amy  Fay's  Music  Study 
in  Germany. 

Depres,  Josquin  (zhos-kan-da-pra), 
compr.  b.  Hainault,  Burgundy, 
about  1450;  d.  Conde",  Aug.  27, 
1521.  Name  given  in  many  forms 
Despres,  Dupr6,  Del  Prato,  etc. 
Chorister,  pupil  of  Okeghem,  singer 
in  Sistine  Chapel  1471-84,  and  in 
Ferrara;  considered  by  contempo- 
raries and  by  historians  greatest  of 
Netherland  School,  because  first  to 


DE  RESZKE 


DDEMER 


bring  real  beauty  out  of  intricate 
counterpoint;  comp.  many  masses, 
some  motets,  and  some  French 
chansons. 

De  Reszke,  see  Reszke,  De. 

Destinn,  Emmy  [real  name  Kittl],  dram, 
sop.  b.  Prague,  Feb.  26, 1878.  Pupil 
of  Loewe-Destinn  whose  name  she 
took;  de"but  1898  at  Berlin;  engage- 
ments there,  at  Bayreuth  (1901),  and 
at  Paris;  N.  Y.  d<5but  1908. 

De  Swert  (de-svarf),  Jules,  'cellist. 
b.  Louvain,  Aug.  15,  1843;  d. 
Ostende,  Feb.  24,  1891.  D6but  at 
9;  pupil  of  Servais  at  Brussels 
Cons.;  after  tours  and  positions  at 
Diisseldorf  and  Weimar  became 
concertmaster,  solo  'cellist,  prof,  at 
Hochschule,  Berlin  1869-1873;  after 
further  tours  director  of  Ostende 
Mus.  Sch.;  prof,  at  Bruges  and  Ghent 
Cons.;  comp.  2  operas,  symph.,  con- 
certo and  other  'cello  works. 

Diabelli  (de-a-bel'-li) ,  Antonio,  compr. 
b.  Mattsee,  near  Salzburg,  Sept.  6, 
1781 ;  d.  Vienna,  Apr.  7, 1858.  Choir 
boy  at  Michaelbeurn  and  Salzburg; 
studied  for  priesthood  and  entered 
monastery;  when  convents  were  sec- 
ularized went  to  Vienna;  encouraged 
in  music  by  Michael  and  Joseph 
Haydn;  composed  an  opera,  cantatas, 
etc.,  and  many  sonatinas  and  easy 
pieces  still  popular;  1818  entered 
publishing  business,  assumed  control 
1824;  published  much  of  Schubert's 
music,  treating  the  composer  rather 
shabbily. 

Dibdin,  Charles,  compr.  b.  Southamp- 
ton, March  (baptized  Mar.  4),  1745; 
d.  London,  July  25,  1814.  Chorister 
at  Winchester  Cathedral;  taught  by 
orgts.  Kent  and  Fussell  the  rudi- 
ments of  music;  at  15  went  to 
London,  became  singing-actor  at 
Covent  Garden;  composed  Shep- 
herd's Artifice,  pastoral,  1762;  acted 
at  Birmingham,  Vauxhall,  Drury 
Lane,  where  he  composed  The 
Padlock  and  other  successful  pieces; 
after  various  unsuccessful  ventures 
as  manager  and  the  tour  described 
in  his  Musical  Tour  of  Mr.  Dibdin, 
he  gave  in  London  "  table  entertain- 
ments," in  which  he  sang,  played, 
acted,  and  accompanied;  many 
famous  songs  (such  as  Tom  Bowling) 
included  in  these  pieces;  after  1805 


he  was  supported  by  pension  and, 
when  that  failed,  by  a  public  sub- 
scription; composed  nearly  100 
operas  and  plays  with  music;  his 
sons,  Charles  and  Thomas,  were 
dramatists. 

Dick,  Charles  George  Cotsford,  compr. 
b.  London,  Sept.  1,  1846;  d.  1895. 
Studied  at  Worcester  Coll.  Oxford; 
wrote  successful  operettas  Our 
Doll's  House  1876,  Doctor  D.  1885, 
and  some  children's  operas,  pf. 
pieces,  etc. 

Dickinson,  Edward,  teacher,  b.  W. 
Springfield,  Mass.,  Oct.  10,  1853. 
Studied  mus.  at  N.  E.  Cons.  1871-72 
with  J.  C.  D.  Parker  and  S.  A. 
Emery,  private  lessons  from  F.  H. 
Torrington  and  later  from  Thayer; 
grad.  Amherst  Coll.  1876,  A.  M. 
1881;  orgt.  at  Springfield  and 
Elmira,  N.  Y.;  private  teacher  and 
director  of  mus.  Elmira  Coll.  1883- 
92;  in  Berlin,  mus.  hist,  under  Ph. 
Spitta  and  Wm.  Langhans,  pf.  with 
Klind worth;  at  Oberlin  Coll.  since 
1893  as  instructor  and  prof,  of 
history  and  pf.  playing;  since  1905 
prof,  of  mus.  hist,  and  criticism 
exclusively  (probably  only  American 
prof,  with  so  specialized  a  field); 
also  has  classes  for  students  at 
Cons.;  has  written  Study  of  History 
of  Music  and  very  valuable  Music 
in  the  History  of  the  Western  Church. 

Dickson,  Ellen,  compr.  b.  Woolwich, 
1819;  d.  Lyndhurst,  July  4,  1878. 
Under  pseud.  "Dolores"  composed 
popular  songs. 

Didymus  (did'-i-mus),  writer,  b.  Alex- 
andria (?),  B.  C.  63.  Author  of 
treatise  on  harmony,  only  preserved 
in  epitome  by  Porphyry  and  quota- 
tions by  Ptolemy;  the  "  comma  of 
D."  is  the  difference  between  the 
major  and  minor  whole  tone  (81:80) 
which  he  recognized. 

Diehl  (del),  Louis,  compr.  b.  Mann- 
heim, 1838.  Teaching  in  London; 
married  pst.  Alice  Mangold  1863; 
compr.  of  songs  and  operettas  for 
amateurs,  Our  Bazaar,  etc. 

Diemer  (di-a-mar),  Louis,  pst.,  comp. 
b.  Paris,  Feb.  14,  1843.  Studied  pf. 
at  the  Paris  Cons,  with  Marmontel 
(1st  prize  1856),  with  Ambroise 
Thomas  and  Bazin  in  comp.,  also 


DEPPEL 


DOMMER 


winning  prizes;  played  with  success 
in  concerts;  as  prof,  of  pf. -playing 
at  the  Cons.,  where  he  succeeded 
Marmontel  in  1887,  he  formed  a 
number  of  distinguished  pupils;  his 
compositions  include  two  piano  con- 
certos, chamber  music  and  a  number 
of  fine  piano  pieces. 

Dippel,  Andreas,  dram,  tenor,  b.  Kassel, 
Nov.  30,  1866.  Pupil  of  Hey,  Leoni, 
and  Rau;  singer  at  Bremen  1887-92, 
Bayreuth,  Vienna,  London,  and 
Berlin;  popular  in  New  York  for 
several  seasons;  with  Gatti-Casazza, 
manager  of  Metropolitan  Opera  1908, 
where  D.  had  charge  of  German 
opera;  1910  manager  Chicago  Opera 
Company. 

Ditters  von  Dittersdorf,  Karl,  vlt., 
compr.  b.  Vienna,  Nov.  2,  1739; 
d.  Rothlhotta,  near  Neuhaus,  Bo- 
hemia, Oct.  24,  1799.  Taught  by 
Konig  and  Ziegler  and,  after  admis- 
sion to  band  of  Prince  von  Hildburg- 
hausen,  by  Bonno  and  Irani; 
accompanied  Gluck  on  tour  to 
Italy  1761;  on  return  defeated 
Lolli;  intimate  with  J.  Haydn; 
successor  of  Michael  Haydn  as 
director  at  Pressburg,  where  he 
wrote  first  opera  Amore  in  Musica; 
as  capellm.  at  Johannisberg,  set  up 
theatre  and  wrote  many  operas  and 
oratorios  (Davide);  on  various  visits 
to  Vienna  opera  Doktor  und  Apotheker 
(only  one  surviving)  was  performed, 
and  in  1786  symphony  on  Ovid's 
Metamorphoses,  remarkable  early 
program  music;  real  comic  vein 
gave  him  contemporary  popularity; 
his  Autobiography  pub.  1801. 

Dodd,  John,  maker  of  vln.  bows.  b. 
Stirling,  1752;  d.  Richmond,  Surrey, 
Oct.  4,  1839.  Called  the  "English 
Tourte  "  whose  bows  he  equaled  in 
excellence,  but  not  quite  in  elegance; 
his  bows  have  single  fault  of  being 
too  short;  unwilling  to  share  his 
secrets  he  would  have  no  pupil;  and 
persisting  in  refusal  to  sell  them  died 
in  poorhouse;  father  Edward  and 
brother  Thomas  both  made  violins. 

Doebber  (ddb-ber),  Johannes,  compr. 
b.  Berlin,  Mar.  28,  '1866.  Studied 
at  Stern  Cons,  under  Radecke,  Buss- 
ler,  and  Agghazy;  taught  pf .  Kullak's 
Cons.;  capellm.  at  Kroll's  Theatre, 


at  Darmstadt,  and  at  Coburg-Gotha; 
composed  6  operas  (Die  Grille  1899, 
etc.),  few  pf.  pieces,  several  songs. 

Doehler  (dealer),  Theodor,  pst.,  compr. 
b.  Naples,  Apr.  20,  1814;  d.  Florence, 
Feb.  21,  1856.  Studied  at  Naples 
with  J.  Benedict,  at  Vienna  with 
Czerny  and  Sechter;  pst.  to  Duke 
of  Lucca  from  1831;  1836-48  made 
several  tours  to  Germany,  Holland, 
London,  Paris,  and  Russia;  after  1848 
lived  in  Florence,  ennobled,  married 
Russian  countess;  chief  works  for 
pf.;  etudes  de  concert,  etudes  de  salon, 
etc.,  showy  but  empty. 

Doering  (deV-ing),  Carl  Heinrich,  pf. 
teacher,  b.  Dresden,  July  4,  1834. 
Pupil  at  Leipzig  Cons,  of  Haupt- 
mann,  Plaidy,  and  Richter;  taught 
in  Leipzig  and  Dresden  Cons,  since 
1858;  distinguished  compr.  and  ad- 
mirable teacher;  composed  many 
valuable  collections  of  studies  and 
special  exercises. 

Dohnanyi  (don-an'-yi),  Ernst  von,  pst. 
b.  Pressburg,  Hungary,  July  27, 
1877.  Educated  at  Gymnasium 
where  his  father,  prof,  of  math., 
taught  him  music;  later  studied  with 
C.  Forstner,  and,  after  1894,  at 
Royal  Hungarian  Acad.  of  Mus.  with 
Thoman  (pf.)  and  Koessler  (comp.); 
at  Budapest  symph.  in  F  took  king's 
prize  1897;  after  few  lessons  from 
d1  Albert  de"but  Berlin  1897;  won 
distinguished  success  in  Germany, 
Austria,  England  1898,  U.  S.  1899, 
1900;  of  late  years  living  in  Berlin; 
has  devoted  more  time  to  comp.  than 
performance;  works  include  symph., 
pf.  solos,  pf.  quintet,  string  quartet, 
etc.,  which  show  fertility  of  inven- 
tion and  ingenuity  and  skill  of  com- 
bination. 

Dolby,  Helen,  see  Sainton-Dolby,  Char- 
lotte Helen. 

Dolores,  see  Dickson,  Ellen. 

Domrner,  Arrey  von,  writer,  b.  Danzig, 
Feb.  9,  1828;  d.  Treyse  (Thuringia), 
Feb.  18,  1905.  After  some  time  as 
theological  student,  after  1851 
studied  at  Leipzig  with  Richter, 
lobe,  and  Schellenberg;  taught  at 
Leipzig;  resided  in  Hamburg  after 
1863;  critic  to  Correspondent;  with- 
drew to  retirement  at  Marburg  1889; 
wrote  Elemente  der  Musik,  Handbuch 
der  Musikgeschichte. 


DONATI 


DRAGONETTI 


Donati  (do-na'-ti),  Baldassaro,  compr. 
b.  Venice,  about  1530;  d.  there,  June, 
1603.  Chorister,  choirmaster,  maes- 
tro at  St.  Mark's;  especially  dis- 
tinguished as  compr.  of  madrigals 
and  motets,  of  which  several  collec- 
tions are  extant. 

Donizetti  (don-i-tset'-ti),  Gaetano, 
compr.  b.  Bergamo,  Nov.  29,  1797; 
d.  there,  Apr.  8,  1848.  Father,  a 
weaver,  wished  him  to  be  lawyer  or 
teacher;  studied  at  Naples  Cons, 
with  Mayr,  and  at  Bologna  Liceo; 
to  escape  demands  of  father  entered 
army;  composed  first  opera  in  quar- 
ters at  Venice;  his  fourth  Zordide  di 
Granata  won  him  exemption  from 
further  service;  after  series  of  suc- 
cessful but  imitative  operas,  com- 
posed Anna  Bolena,  1830,  for  Pasta, 
Rubini,  and  Lablache;  Elisir  d'a- 
•more  1832,  Lucrezia  Borgia  1833,  Lu- 
cia di  Lammermoor  1835  followed; 
director  Naples  Cons.  1837;  left 
Milan  angered  by  judgment  of 
censor  against  Poliuto;  went  to 
Paris,  where  were  produced  La  fille 
du  regiment,  La  favorita,  Linda  di 
Chamounix,  Don  Pasquale;  stricken 
with  paralysis  1845,  from  which  he 
never  recovered.  He  wrote  in  all 
about  67  operas,  many  merely  imita- 
tive of  his  contemporaries  Bellini 
and  Rossini,  some  distinguished  by 
great  originality  of  melody  and 
skilful  composition  of  concerted 
numbers;  Lucia  probably  the  most 
famous  and  the  one  that  is  now  most 
often  given,  largely  because  of 
famous  sextet. 

Dont  (don),  Jacob,  vlt.  b.  Vienna,  Mar. 
2,  1815;  d.  there,  Nov.  17,  1888. 
Son  of  'cellist  Joseph  Valentin  (1776- 
1833);  pupil  at  Vienna  Cons,  of 
Bohm  and  elder  Hellmesberger; 
played  in  orchestras  and  as  soloist; 
distinguished  as  teacher  at  Vienna 
Cons,  of  Auer,  Gregorowitch,  and 
others;  pub.  very  valuable  Studies 
for  Violin. 

Door  (dor),  Anton,  pst.  b.  Vienna, 
June  20,  1833.  Pupil  of  Czerny  and 
Sechter;  successful  tours  in  Italy  and 
Germany;  court  pst.  at  Stockholm 
1857;  teacher  at  Imp.  Inst.  Moscow 
1859,  at  Cons.  1864;  1869  at  Vienna 
Cons.;  now  teaching  in  Vienna; 
among  pupils  are  Fischoff,  Mottl, 


Steinbach,  etc.;  has  made  valuable 
editions  of  older  works,  and  intro- 
duced new  ones. 

Dorn,  Eduard,  see  Rockel,  Joseph  Leo- 
pold. 

Dorn,  Heinrich  Ludwig  Egmont,  compr., 
writer.  b,  Konigsberg,  Nov.  14, 
1804;  d.  Berlin,  Jan.  10, 1892.  While 
law  student  studied  music  at  Konigs- 
berg, later  at  Berlin  with  Berger 
and  Klein;  director  at  Leipzig,  where 
he  taught  Schumann  1829-31;  1843 
dir.  at  Cologne,  founder  of  Rhein- 
ische  Musikschule  which  became 
Cologne  Cons.;  director  of  Rhein- 
ischeMus.  Festivals;  capellm.  Royal 
Opera  Berlin  1849-69;  wrote  13 
operas  (Die  Nibelungen  1854  best 
known),  church  music,  orch.  works, 
etc.;  edited  Berliner  Post,  contrib- 
uted to  Berliner  Musikzeitung,  wrote 
autobiog.  Aus.meinem  Leben, 

Dowland,  John,  compr.  b.  Westmin- 
ster, 1562;  d.  London,  Apr.,  1626. 
Distinguished  lute  player;  in  service 
of  English  ambassador  at  Paris 
about  1580,  became  Roman  Catho- 
lic; Mus.  Bac.  Oxford  1588;  left 
England  because  of  religion,  traveled 
in  Italy  and  Germany;  lutenist  to 
Christian  IV  of  Denmark  1598;  re- 
turned to  England  1605  and  finally 
in  1609;  1612  King's  musician;  works 
1st,  2d,  3d  Books  of  Songs  of  4  parts 
with  Tablature  for  the  Lute,  etc.,  re- 
ferred to  by  Shakespeare.  Son 
Robert  (15987-1641?)  also  lutenist 
and  compr. 

Draeseke  (dra'-se-ke),  Felix  August 
Bernhard,  compr.  b.  Coburg,  Oct.  7, 
1835.  Pupil  of  Rietz  at  Leipzig 
Cons.;  friend  of  Liszt  and  member  of 
"  New  German  School  "  at  Weimar; 
teacher  at  Lausanne  Cons.  1864-74 
(with  one  year  with  Von  Biilow  at 
Munich  Cons.) ;  lived  in  Geneva  and 
1884  became  teacher  at  Dresden 
Cons.;  early  works  too  radical  to  be 
popular,  but  later  more  in  classic 
style,  especially  3  symph.,  overtures 
(Das  Leben  ein  Traum),  and  chamber 
music  have  won  success. 

Dragonetti,  Domenico,  double-bass  play- 
er. b.Venice,  Apr.  7, 1763;  d.  London, 
Apr.  16,  1846.  Few  lessons  from 
Berini,  but  largely  self-taught;  after 
playing  in  several  Italian  orchestras, 


DRESEL 


DUKAS 


went  to  London  1794,  where  he 
was  engaged  at  King's  Theatre; 
with  Lindley,  the  'cellist,  his  com- 
panion for  52  years,  played  at  An- 
cient Concerts,  Philharmonic,  etc.; 
played  at  Beethoven  Festival,  Bonn, 
1845;  friend  of  Haydn  and  acquaint- 
ance of  Beethoven;  compr.  of  works 
for  own  instr.  and  for  the  voice;  re- 
markable for  technical  virtuosity 
and  for  depth  and  steadiness  of  tone. 

Dresel  (dra-sel),  Otto,  pst.  b.  Ander- 
nach,  1826;  d.  Beverly,  Mass.,  July 
26,  1890.  Pupil  of  Hiller  at  Cologne 
and  of  Mendelssohn  at  Leipzig; 
came  to  N.  Y.  1848;  settled  in  Boston 
1852,  where  as  teacher  and  player 
he  contributed  very  largely  to  the 
awakened  appreciation  of  German 
music,  especially  works  of  Bach  and 
songs  of  Franz;  published  only  a  few 
songs. 

Dressier,  Louis  Raphael,  compr.  b. 
N.  Y.  City,  Dec.  8,  1861.  (Father, 
William  Dressier,  a  composer  of  some 
distinction.)  Graduated  Lyons  Col- 
legiate Institute,  N.  Y.  City,  1877; 
educated  in  music  by  his  father,  be- 
ginning professional  work  at  16;  or- 
ganist and  choirmaster,  All  Souls' 
Unitarian  Church;  editor  The  World's 
Best  Music;  composer  of  successful 
songs,  anthems;  conductor  of  choral 
societies  and  glee  clubs;  connected 
with  Charles  H.  Ditson  and  Co.,  mu- 
sic publishers,  New  York  City. 

Dreyschock  (dri-shok),  Alexander,  pst. 
b.  Zak,  Bohemia,  Oct.  15,  1818;  d. 
Venice,  Apr.  1,  1869.  Appeared  in 
public  at  8;  later  pupil  of  Tomaschek 
in  Prague;  from  1838-1862  tours 
through  Germany,  Austria,  Paris, 
London,  and  Russia;  1862  prof,  at 
St.  Petersburg  Cons.,  director  of  j 
Imperial  School,  court  pst.;  retired  j 
to  Italy  1868;  played  chiefly  his  own 
compositions  which  are  not  now  in- 
teresting; though  cold  as  an  inter- 
preter he  was  remarkable  for  tech- 
nical ability,  esp.  for  facility  in  play- 
ing octaves,  and  for  solo  work  in  the 
left  hand.  His  nephew  Felix,  pst.  b. 
Leipzig,  Dec.  27,  1860.  Son  of  Rai- 
mund,  vU.  (1824-1869);  studied  at 
Berlin  Hochschule  with  Ehrlich,  ! 
Taubert,  and  Kiel;  now  prof,  at 
Stern  Cons.;  successful  as  performer 
and  as  compr.  of  pf.  pieces. 


Dubois  (dii-bo-a),  Clement  Francois 
Theodore,  compr.  b.  Rosnay,  Marne, 
Aug.  24,  1837.  After  teaching  at 
Rheims  studied  at  Paris  Cons. 
After  1853  under  Marmontel,  Be- 
noist,  Bazin,  and  Ambroise  Thomas; 
took  1st  prizes  in  all  departments  and 
Prix  de  Rome  1861;  maitre  de  cha- 
pelle  at  Ste.  Clothilde,  orgt.  at  Made- 
leine 1877,  prof,  of  harm,  at  Cons. 
1871,  of  comp.  1891;  member  of 
Acad.  1894,  director  of  Cons.  1896- 
1905.  Numerous  compositions  in- 
clude oratorios  (Les  sept  paroles  du 
Christ,  Le  paradis  perdu),  operas 
(Aben  Hamet,  Xaviere),  songs,  pf., 
and  org.  pieces,  orch.  works  (over- 
ture to  Frithjof,  etc.);  music  is 
conscientious  rather  than  inspired; 
successful  as  teacher. 

Ducis  (du-se),  Benoit  [Benedictus  Ducis], 
compr.  b.  Bruges,  about  1480;  date 
and  place  of  death  unknown.  Pupil  of 
Josquin  Depres;  orgt.  at  Antwerp; 
went  to  England  1515;  some  say 
lived  in  Germany  later,  but  no  certain 
facts;  there  are  extant  some  80  songs, 
and  several  part-songs  and  motets; 
not  to  be  confounded  with  Bene- 
dictus Appenzelders,  Swiss  musician 
of  later  date. 

Dufay  (dii-fa),  Guillaume,  compr.  b. 
Hainault  (?),  about  1400;  d.  Cambrai, 
Nov.  27,  1474.  Chorister  in  Papal 
Chapel  1428;  in  service  of  Duke  of 
Burgundy  1437;  took  holy  orders, 
1437  became  canon  at  Cambrai;  one  of 
the  most  distinguished  of  early  French 
contrapuntists;  many  of  his  works 
(masses,  motets,  chansons,  etc.)  still 
extant;  also  said  to  have  introduced 
white  (open)  notes  and  to  have  made 
other  changes  in  notation.  See  Stai- 
ner's  Dufay  and  his  Contemporaries 
for  account  and  examples. 

Duiffopruggar  (dwef-fo-pru-gar),  [Tief- 
fenbriicker],  Caspar,  instrument-mak- 
er, b.  Freising,  Bavaria,  1514;  d. 
Lyons,  before  Dec.,  1571.  Reputation 
as  first  maker  of  violins  was  destroyed 
by  Vidal  who  brought  proof  that 
instruments  attributed  to  him  were 
made  by  Vuillaume  after  1827;  D. 
made  violas  da  gamba  and  lutes  in- 
laid after  certain  fashion. 

Dukas  (dii-ka),  Paul,  compr.  b.  Paris, 
Oct.  1,  1865.  Pupil  at  Paris  Cons, 
after  1882  of  Dubois,  Mathias,  and 


DULCKEN 

Guiraud;  second  Prix  de  Rome; 
musical  critic  of  Gazette  des  beaux 
arts  and  Revue  hebdomadaire;  works 
include  overtures  Lear,  Goetz  von 
Berlichingen,  Polyeucte,  symphony, 
distinguished  pf.  sonata,  variations, 
etc.;  symph.  poem  L'apprenti  sor- 
cier,  ingenious  orchestral  scherzo, 
best  known  work  outside  of  France; 
also  opera  Ariane  et  Barbe-bleue; 
shows  unusual  technical  ability  in  the 
expression  of  ultra-modern  ideas. 

Dulcken  (dul-ken),  Ferdinand  Quentin, 

B?<.  b.  London,  June  1,  1837;  d. 
ew  York,  1902.  Pupil  at  Leipzig 
Cons,  of  Mendelssohn,  Moscheles, 
Gade,  etc.,  and  at  Cologne  of  F. 
Hiller;  prof,  at  Warsaw  Cons.; 
lived  in  Paris  and  N.  Y.;  made 
tours  with  distinguished  artists  Wien- 
iawski,  Vieuxtemps,  Remenyi,  Essi- 
poff,  etc. 

Dunham,  Henry  Morton,  orgt.  b. 
Brockton,  Mass.,  July  27,  1853. 
Pupil  of  J.  C.  D.  Parker  and  Whit- 
ing; graduated  from  N.  E.  Cons, 
and  Boston  Univ.  Coll.  of  Mus.; 
taught  in  both;  published  Organ 
School  and  many  works  for  instr.; 
as  orgt.  at  Ruggles  St.  Ch.,  Shaw- 
mut  Ch.,  and  Harvard  St.,  Brookline, 
has  given  many  recitals  in  Boston 
and  elsewhere. 

Dunkley,  Ferdinand  Luis,  orgt.  b. 
London,  July  16,  1869.  Pupil  of 
G.  A.  Higgs,  and  at  Trinity  Coll. 
London,  under  Parry,  etc.,  at  Royal 
Coll.;  after  holding  several  positions 
in  England  became  teacher  of  mus. 
at  St.  Agnes's  School,  Albany,  N.  Y. 
and  orgt.  there;  later  moved  to 
New  Orleans;  in  1909,  Vancouver, 
B.  C.;  composed  cantata,  Wreck  of 
the  Hesperus,  many  songs,  and  orch. 
suite  which  won  prize  at  Promenade 
Concerts  1889. 

Dunn,  John  F.,  vlt.  b.  Hull,  Feb.  10, 
1866.  Pupil  of  brother;  played  in 
theatre  orch.  at  11;  studied  at 
Leipzig  Cons,  with  Schradieck,  Jad- 
assohn  and  Richter;  after  concerts 
in  Germany,  made  London  de"but 
1882;  since  has  played  with  success 
throughout  England. 

Dunstable,  John,  compr.  b.  Dunstable, 
Bedfordshire,  about  1370;  d.  Wai- 
brook,  Dec.  24,  1453.  Nothing 
known  of  life,  and  comparatively 


DUSSEK 

few  works  extant,  but  referred  to 
by  contemporaries  in  terms  of 
highest  praise;  an  early  contem- 
porary of  Dufay  and  Binchois;  a 
leader  in  their  school  of  contra- 
puntal composition,  a  forerunner  of 
Okeghem  and  others. 

Duparc  (dii-park),  Henri,  compr.  b, 
Paris,  1847.  Studied  for  the  bar, 
and  music  with  C£sar  Franck; 
became  a  disciple  of  Wagner's  ideas; 
on  account  of  ill  health  retired  from 
active  professional  work;  although 
he  wrote  in  the  large  forms  he  has 
been  most  successful  with  his  songs. 

Dupont  (dii-pon),  Auguste,  compr.  b. 
Ensival,  near  Lie"ge,  Feb.  9,  1828; 
d.  Brussels,  Dec.  17,  1890.  Educated 
at  Li6ge  Cons.,  toured  as  pst., 
taught  at  Brussels  Cons,  after  1850; 
compositions  slight  but  pleasing. 

Duprez  (dii-pra),  Gilbert  Louis,  dram, 
tenor,  b.  Paris,  Dec.  6,  1806;  d. 
there,  Sept.  23,  1896.  Studied  at 
Choron's  Inst.;  d6but  1825  without 
marked  success;  after  further  study 
in  Italy  reappeared  at  Paris  Ope"ra 
1836;  prof,  declamation  Cons.  1842 
to  1850,  when  he  founded  school  of 
his  own;  retired  1855  from  stage; 
compositions,  operas,  mass,  etc.,  of 
no  importance,  works  on  singing  of 
great  value. 

Durand  (dii-ron),  Marie  Auguste,  orgt., 
publisher,  b.  Paris,  July  18,  1830; 
d.  May,  1909.  Pupil  of  Benoist; 
held  various  organ  appointments  in 
Paris;  in  partnership  with  Schone- 
werk,  and  alone,  published  large 
amount  of  mod.  French  music. 

Durante  (du-ran'-te) ,  Francesco,  compr. 
b.  Fratta  Maggiore,  Naples,  Mar.  15, 
1684;  d.  Naples,  Aug.  13,  1755. 
Studied  at  Naples  under  Greco,  and 
under  A.  Scarlatti  at  Cons.  San 
Onofrio;  director  in  1718;  maestro 
Santa  Maria  di  Loreto;  composed 
church  music  of  "  Neapolitan 
School,"  animated  and  strong,  rather 
than  inspired;  had  many  distin- 
guished pupils,  Duni,  Jommelli, 
Sacchini,  Pergolese,  Paisiello. 

Dussek  (du'-shek),  Johann  Ladislaus, 
compr.  b.  Czaslav,  Bohemia,  Feb. 
9,  1761;  d.  Saint  Germain-en-Laye, 
Mar.  20,  1812.  Educated  at  Jesuit 
Coll.,  where  he  studied  music  and 


DUVERNOY 


EBERL 


acted  as  orgt.;  continued  mus. 
studies  while  student  of  theology  at 
Prague;  orgt.  at  Mechlin,  Amster- 
dam, The  Hague;  after  studying 
with  C.  Ph.  E.  Bach  won  renown 
as  pianist;  played  at  many  Euro- 
pean courts;  driven  from  Paris  by 
the  Revolution  returned  in  1808; 
remarkable  for  his  singing  touch  on 
the  pf.,  and  in  comp.  for  early  ex- 
pression of  Bohemian  spirit,  and 
for  extending  resources  of  piano 
toward  greater  richness;  important 
works  are  largely  for  pf.,  concertos, 
sonatas,  fugues,  etc. 

Duvernoy  (dti-var-no-a),  Jean  Baptiste, 
compr.,  teacher,  b.  Paris  (?),  1797  (?) ; 
d.  Passy,  1880.  After  about  1825 
published  large  number  of  pf .  works, 
of  which  Weitzmann  says  that  they 
belong  to  a  class  of  works  which 
"  though  easy  to  play  sounded  brill- 
iant in  the  ears  of  amateurs,"  and 
which  are  musically  superficial. 

Dvorak  (dvor'-zhak),  Antonin,  compr. 
b.  Miihlhausen,  Bohemia,  Sept.  8, 
1841;  d.  Prague,  May  1,  1904. 
Father  an  innkeeper  wished  him  to 
be  a  butcher;  having  learned  vln. 
from  schoolmaster  went  at  16  to 
Prague  Org.  School,  where  he  studied 
under  Pitzsch,  while  he  played  vln. 
in  orch.;  later  played  viola  at 
National  Theatre;  studied  scores 
borrowed  from  Smetana;  1873  comp. 
hymn  for  male  chorus  which  won 
gov't  pension;  1877  approbation  of 
Brahms  led  to  hearing  in  Germany; 
Slavonic  dances  1878,  Stabat  Mater 


1883  firmly  established  him;  1890 
prof,  at  Prague  Cons.;  1892-95 
director  of  Nat'l  Cons.  New  York; 
thereafter  lived  and  composed  in 
Prague.  His  music  is  marked  by 
strong  national  spirit,  love  of  exotic 
color,  odd  rhythms,  "  sudden  excur- 
sions in  tonality,"  curious  melodic 
intervals;  but  it  is  on  the  whole 
simple  in  intention,  never  morbid, 
seldom  intellectual;  he  composed 
several  symphonic  poems,  concerto 
for  vln,  for  pf.,  for  'cello,  string 
quartets,  and  five  symph.;  the  5th 
symph.  Aus  der  neuen  Welt,  quartet 
Op.  96  and  quintet  Op.  97  are  based 
on  themes  of  negro  type. 

Dwight,  John  Sullivan,  critic,  b.  Bos- 
ton, Mass.,  May  13,  1813;  d.  there, 
Sept.  5,-  1893.  Grad.  at  Harvard 
1832;  entered  ministry  1836;  mem- 
ber of  Brook  Farm  Community;  after 
1848  returned  to  Boston;  one  of 
founders  of  Harv.  Mus.  Ass'n;  1852- 
1881  edited  Dwight's  Journal  of 
Music,  which  published  essays  by 
Thayer  and  others,  criticisms  and 
records  of  awakening  musical  life  in 
America;  D's  taste  was  good,  though 
intolerantly  classical. 

Dykes,  Rev.  John  Bacchus,  compr.  b. 
Kingston-upon-Hull,  Eng.,  Mar.  10, 
1823;  d.  St.  Leonard's-on-Sea,  Jan. 
22,  1876.  Pupil  of  Skelton  and 
Walmisley;  educated  at  Cambridge; 
canon  and  precentor  at  Durham 
Cath.,  andcondr.  of  mus.  soc.;  compr. 
of  some  especially  good  hymn  tunes 
(Lead,  Kindly  Light). 


E 


Eames  (ams),  Emma,  dram.  sop.  b. 
Shanghai,  China,  Aug.  13,  1867,  of 
American  parentage.  Brought  to 
Maine  at  5;  taught  by  her  mother, 
by  Clara  Mungerin  Boston  1883-86; 
by  Marchesi  and  Pluque  (stage 
deportment)  1886-88;  although  en- 
gaged at  Ope>a  Com.  in  1888  did  not 
make  d6but  until  1889  at  Ope>a 
where  she  sang  2  years;  London 
de"but  1891,  New  York  same  year; 
since  then  regularly  appearing  in 
both  cities;  though  an  indifferent 
actress,  lacking  in  emotional  power, 
her  beautiful  voice  has  made  her 
successful  in  an  extended  repertoire; 


married    1891    artist   Julian    Story, 
from  whom  she  separated  1907. 


Eberl  (a-berl),  Anton,  pst.,  compr.  b. 
Vienna,  June  13,  1766;  d.  there, 
Mar.  15  (or  11),  1807.  Lived  in  St. 
Petersburg  1769-1800,  then  in  Vien- 
na; two  operas  produced  1782  and  '83 
made  him  friend  of  Mozart  and 
Gluck;  concert  tour  with  Mozart's 
widow;  lived  and  traveled  in  Russia 
1796-1800  and  1803,  and  Germany; 
composed  other  operas,  chamber 
music,  songs,  etc.;  distinguished  as 
pst.  and  as  compr.,  by  contemporaries 
classed  very  high. 


ECCARD 


EIBENSCHttTZ 


Eccard  (ek'-kard),  Johannes,  compr. 
b.  Miihlhausen,  Thuringia,  1553;  d. 
Konigsberg,  1611.  Pupil  of  Von 
Burgk  and  of  Orlando  di  Lasso; 
capellm.  at  Konigsberg  and  Berlin; 
eminent  as  compr.  of  sacred  songs 
for  4  and  5  voices,  written  with  real 
religious  feeling  as  well  as  musical 
skill. 

Eck  (ek),  Franz,  vlt.  b.  Mannheim, 
1774;  d.  Strassburg,  1804.  Pupil 
of  brother  Johann  Friedrich  (1766- 
1809);  member  of  Munich  Orch.; 
director  and  solo  player  at  St. 
Petersburg  court  concerts;  teacher 
of  Spohr  1802-03;  insane  at  time  of 
death;  powerful  and  skilful  per- 
former, but  poor  interpreter. 

Eckert  (6k'-ert),  Carl  Anton  Florian, 
compr.  b.  Potsdam,  Dec.  7,  1820; 
d.  Berlin,  Oct.  17,  1879.  Prodigy 
at  6;  educated  under  patronage  of 
Forster  by  Rechenberg  and  Greulich 
for  pf.,  Botticher  and  Ries  for  vln., 
and  Rungenhagen  for  comp.;  wrote 
opera  at  12,  oratorio  at  13;  studied 
with  Mendelssohn  at  Leipzig,  1839; 
accompanist  at  Th.  Italien,  Paris 
1851,  condr.  1852;  capellm.  Vienna 
1853,  Stuttgart  1860-67,  Berlin 
1869;  came  to  U.  S.  with  Sontag; 
of  numerous  comp.  only  few  songs 
have  lasting  interest;  distinguished 
as  condr. 

Eddy,  Clarence,  orgt.  b.  Greenfield, 
Mass.,  June  23,  1851.  Pupil  of 
J.  G.  Wilson,  and  Dudley  Buck,  of 
Haupt  and  Loeschhorn  in  Berlin; 
after  tour  of  Europe,  settled  in 
Chicago  1874  as  orgt.,  director  of 
Hershey  School  of  Mus.  Art.,  condr. 
Philharm.  Vocal  Society,  etc.,  organ- 
ist Tompkins  Ave.  Church,  Brooklyn, 
1908-1910;  frequent  tours  in  Amer- 
ica and  Europe;  composed  chiefly 
for  org. ;  as  player  distinguished  for 
extent  of  repertoire. 

Edwardes  [or  Edwards],  Richard,  compr. 
b.  Somersetshire,  1523;  d.  Oct.  31, 
1566.  Poet,  playwright,  scholar, 
master  of  children  at  Chapel  Royal, 
member  of  Lincoln's  Inn;  one 
madrigal,  In  going  to  my  naked  bed, 
one  of  the  finest  extant. 

Edwards,  Henry  Sutherland,  writer,  b. 
Hendon,  Middlesex,  Sept.  5,  1829; 
d.  London  (?),  Jan.  21,  1906.  Author 
of  History  of  Opera,  Life  of  Rossini, 


The  Prima  Donna,  etc.;  critic  for 
St.  James  Gazette,  and  special  corre- 
spondent abroad;  works  are  pleas- 
antly readable,  but  not  scientifically 
accurate. 

Edwards,  Julian,  compr.  b.  Man- 
chester, Eng.,  Dec.  11,  1855;  d. 
Yonkers,  N.  Y.,  Sept.  5,  1910. 
Pupil  of  Oakeley  and  Macfarren; 
1880  produced  overture  Corinne; 
condr.  Eng.  Opera  Co.  1883;  in 
N.  Y.  1888;  compr.  of  several  comic 
operas:  Magic  Kiss  Boston  1894; 
Brian  Boru  N.  Y.  1896,  Princess 
Chic  1900,  etc. 

Eeden  (a-den),  Jean  Baptiste  van  den, 
compr.  b.  Ghent,  Dec.  26, 1842.  Pupil 
at  Ghent  and  Brussels  Cons.;  director 
at  Mons  Cons.  1878;  works,  opera, 
oratorios,  Jacob  van  Artevelde,  trilogy 
Judith,  etc.;  also  suite,  songs,  etc. 

Ehlert  (a'-lert),  Louis,  compr.,  writer. 
b.  Konigsberg,  Jan.  23,  1825;  d. 
Wiesbaden,  Jan.  4,  1884.  Pupil  of 
Schumann  and  Mendelssohn  at 
Leipzig  Cons.;  studied  at  Vienna 
and  Berlin;  condr.  of  Societa 
Cherubini  at  Florence;  teacher  in 
Tausig's  school  in  Berlin;  tutor  to 
princes  in  Meiningen;  lived  in 
Wiesbaden;  comp.  symph.,  sonatas, 
and  overture;  wrote  Letters  to  a  Lady 
and  Letters  from  the  Tone  World. 

Ehrlich  (ar'-lik),  Alfred  Heinrich,  pst., 
writer,  b.  Vienna,  Oct.  5,  1822;  d. 
Berlin,  Dec.  29,  1899.  Pupil  of 
Henselt  and  Thalberg;  court  pst.  at 
Hanover;  lived  in  London  and 
Frankfort;  taught  at  Stern  Cons, 
in  Berlin,  Dreyschock  a  pupil;  music 
critic  for  several  journals,  editor 
Tausig's  Studies,  compr.  unimpor- 
tant pf.  works,  and  author  of  inter- 
esting books  on  pf.  playing.  [Not 
the  author  of  Celebrated  Violinists  and 
Celebrated  Pianists,  who  used  pseud. 
A.  Ehrlich.] 

Eibenschiitz  (I-ben-sheetz),  Albert,  pst. 
b.  Berlin,  Apr.  15,  1857.  Pupil  of 
Reinecke  and  Paul  at  Leipzig  Cons.; 
prof.  Mus.  School  at  Charkoff, 
Russia,  at  Leipzig  Cons.  1880-84, 
at  Cologne  1893,  at  Stern  Cons. 
1896.  Cousin  Dona  (b.  Pesth,  May 
8,  1873),  pst.  Pupil  of  Mme.  Schu- 
mann; great  favorite  in  London  1891- 
1902,  where  she  married. 


EICHBERG 


ELSENHEIMER 


Eichberg  (Ik-berg),  Julius,  vlt.,  compr. 
b.  Diisseldorf,  June  13,  1824;  d. 
Boston,  Jan.  18,  1893.  Pupil  of 
Rietz,  and,  at  Brussels  Cons.,  of 
F^tisand  De  Be>iot;  prof .  at  Geneva 
Cons.;  came  to  N.  Y.  1857;  director 
Museum  Concerts,  Boston,  1859- 
1866;  director  Boston  Cons.,  super- 
intendent public  sch.  mus.,  founder 
School  for  Vln.;  wrote  4  operettas, 
Doctor  of  Alcantara,  The  Two  Cadis, 
etc.,  chamber  music,  and  vln.  method. 

Eitner  (It'-ner) ,  Robert,  editor,  writer,  b . 
Breslau,  Oct.  22, 1832;  d.  Berlin,  Jan. 
22,  1905.  Pupil  of  Brosig;  taught 

Rf.  in  Berlin;  distinguished  as  care- 
il  and  accurate  editor  of  music  of 
16th  and  17th  centuries,  notably 
works  of  Sweelinck,  Publikationen 
alterer  praktischer  und  theoretischer 
Musikwerke,  and  Quellenlexikon  iiber 
die  Musiker  und  Musikgelehrten 
(1899-1904). 

Elgar,  Sir  Edward  William,  compr.  b. 
Broadheath,  near  Worcester,  Eng., 
June  2,  1857.  Son  of  W.  H.  Elgar, 
orgt.,  vlt.,  and  music  dealer;  while 
a  mere  boy  he  assisted  his  father 
at  org.,  attended  meetings  of  Wor- 
cester Glee  Club,  often  conducting; 
few  vln.  lessons  from  Pollitzer  in 
London  in  1877,  almost  only  regular 
instruction;  as  member  of  Three 
Choirs  orch.,  as  conductor  of  band 
at  County  Lunatic  Asylum  1879-84, 
member  of  Stockley's  orch.  at  Bir- 
mingham, condr.  of  Worcester  Ama- 
teur Instrumental  Soc.,  and  orgt., 
he  had  exceptionally  wide  chances 
of  intimate  acquaintance  with  vari- 
ous instruments;  London  from  1889, 
in  Malvern  1891-1904,  when  he 
moved  to  Hereford,  taught,  con- 
ducted, and  composed;  came  to 
America  1905  to  receive  degree  at 
Yale,  1906  to  direct  Gerontius  at 
Cincinnati;  prof,  of  mus.  Birming- 
ham University,  1904-1908.  Several 
cantatas  had  been  given  in  Wor- 
cester, notice  was  first  attracted  to 
him  by  Scenes  from  King  Olaf  1896; 
after  that  Imperial  March,  Banner 
of  St.  George  1897,  Sea  Pictures  and 
Orch.  Variations  1899  showed  in 
ascending  scale  his  originality  of 
expression  and  mastery  of  orches- 
tral resources;  Dream  of  Gerontius 
(Birmingham,  1900),  his  most  im- 
portant work  up  to  that  time,  has 


been  criticised  as  lacking  sublimity 
and  unity,  and  has  been  highly 
praised  for  beauty  of  certain  parts, 
especially  by  R.  Strauss  and  Conti- 
nental critics;  at  3-day  Elgar  Fes- 
tival (London,  1904)  were  produced 
old  works,  new  overture  In  the 
South  and  The  Apostles,  first  given 
at  Birmingham  1903,  first  and 
second  parts  of  uncompleted  trilogy, 
the  second  part  being  The  Kingdom; 
military  march  Pomp  and  Circum- 
stance has  swing  of  real  popularity; 
his  first  symphony  (1908)  awakened 
both  favorable  and  unfavorable 
comment. 

Ella,  John,  vlt.  b.  Thirsk,  Yorkshire, 
Dec.  19,  1802;  d.  London,  Oct.  2, 
1888.  Son  of  vlt.,  became  lawyer, 
but  at  19  turned  to  music;  lessons 
in  vln.  from  Ferny,  in  harm,  from 
Attwood,  and  comp.  from  F£tis  in 
Paris;  member  of  orch.  at  King's 
Theatre  1822,  and  of  Philharmonic, 
Antient  Music  Soc.,  etc.  until  retire- 
ment 1848;  1845-1880  established 
and  directed  morning  concerts  of 
chamber  music;  1850-59  similar 
mus.  winter  evenings;  analytical  pro- 
grams, written  by  himself,  intro- 
duced at  these  concerts  were  not 
of  his  invention,  but  here  first 
attracted  notice;  wrote  for  Athe- 
nceum.etc.;  1855  lecturer  at  London 
Inst.;  author  of  Mus.  Sketches  at 
Home  and  Abroad. 

Ellis,  Alexander  John  [real  name 
Sharpe],  writer,  b.  Hoxton,  June  14, 
1814;  d.  Kensington,  Oct.  28,  1890. 
Educated  at  Cambridge;  at  first  in- 
terested in  philology;  after  mus.  les- 
sons under  Donaldson  at  Edinburgh, 
began  extensive  investigations  into 
scientific  aspect  of  tones,  chords, 
and  pitch;  translated  Helmholtz' 
On  the  Sensations  of  Tone;  contrib. 
many  papers  to  Royal  Soc.  and  to 
Mus.  Ass'n;  published  Basis  of  Music, 
Pronunciation  in  Music,  Speech  in 
Song. 

Elsenheimer  (el'-sen-hlm-er),  Nicholas 
J.,  compr.,  teacher,  b.  Wiesbaden, 
June,  1866.  Taught  by  his  father 
and  Jakobsthal;  LL.D.  at  Heidel- 
berg; came  to  America  1890;  1891 
prof,  theory  and  mus.  lit.  at  Cin- 
cinnati Coll.  of  Mus.;  now  living  in 
N.  Y. ;  comp.  part-songs,  cantatas 
Valerian,  Belshazzar. 


ELSNER 


ENGEL 


Eisner,  Joseph  Xaver,  compr.  b.  Grott- 
kau,  Silesia,  June  29,  1769;  d. 
Warsaw,  Apr.  18,  1854.  Son  of 
carpenter  and  instr.  maker;  origin- 
ally intending  to  be  doctor;  had 
lessons  in  harm,  from  Forster,  after 
visit  to  Vienna  in  1791  became 
member  of  theatre  orch.  at  Briinn, 
condr.  at  Lemberg,  and  1799  at 
Warsaw,  where  he  composed  22 
operas  in  20  years;  1815  founded 
soc.  which  resulted  in  Cons.;  works 
in  many  styles,  popular  in  Poland; 
was  the  teacher  of  Chopin. 

Elson,  Louis  Charles,  critic,  b.  Boston, 
Mass.,  Apr.  17,  1848.  Pupil  of 
Kreissmann  in  singing  and  at  Leip- 
zig of  Gloggner-Castelli  in  theory; 
editor  of  Vox  Humana,  critic  on 
Musical  Herald,  mus.  editor  of 
Boston  Courier,  later  and  until  pres- 
ent, of  Advertiser;  prof,  of  theory, 
lecturer  on  orch.  and  history  N.  E. 
Cons.;  extremely  popular  as  lect- 
urer; author  of  Curiosities  of  Music, 
Theory  of  Music,  German  Songs 
and  Song-writers,  National  Music  of 
America  and  Its  Sources,  History 
of  American  Music,  Elson's  Music 
Dictionary,  etc.;  most  original  work 
has  been  in  connection  with  early 
Am.  music;  all  his  work  is  interest- 
ing and  readable.  His  son  Arthur 
also  writer,  b.  Boston,  Nov.  18, 
1873.  Studied  at  Boston  schools, 
Harvard,  and  Inst.  of  Technology; 
has  been  teacher  of  textile  chem- 
istry in  Atlanta  and  of  drawing  at 
Mass.  Inst.  of  Tech.  and  at  New 
Hampshire  College;  studied  mus. 
with  father  and  J.  K.  Paine;  frequent 
contributor  to  papers  and  magazines; 
wrote  Critical  Hist,  of  Opera,  Orches- 
tral Instruments,  Woman's  Work  in 
Music,  Modern  Composers  of  Europe, 
and  Music  Club  Programs  from  all 
Nations. 

Elterlein  (el-ter-Hn),  Ernst  von  [pseud, 
of  Ernst  Gottschald],  writer.  b. 
Elterlein,  Saxony,  Oct.  19,  1826.  A 
lawyer,  author  of  popular  analysis 
of  Beethoven's  sonatas  for  pf. 

Elvey,  Sir  George  Job,  compr.  b.  Can- 
terbury, Mar.  27,  1816;  d.  Windles- 
ham,  Surrey,  Dec.  9, 1893.  Chorister 
at  Canterbury  Cath.;  pupil  of  broth- 
er, Stephen,  compr.  (1805-1860),  and 
of  Potter  and  Crotch;  1835-1882 


orgt.  of  St.  George's,  Windsor;  condr. 
Glee  and  Madrigal  Soc.;  1834  won 
Gresham  Prize;  1840  Doc.  of  Music; 
1871  knighted;  works  chiefly  an- 
thems, The  Lord  is  King,  Sing  O 
Heavens,  etc. 

Elwart,  Antoine  Aimable  Elie,  compr., 
writer,  b.  Paris,  Nov.  19,  1808;  d. 
there,  Oct.  14,  1877.  Chorister  at  St. 
Eustache,  ran  away  from  apprentice- 
ship and  played  in  theatre  orch.; 
pupil  at  Cons,  of  F6tis  and  Lesueur; 
Prix  de  Rome  1834;  asst.  prof,  and 
prof,  at  Cons.  1832-1872;  condr. 
concerts  in  Paris;  retired  1871;  com- 
posed 3  oratorios,  music  for  Alcestis, 
chamber  and  orch.  music,  etc.;  wrote 
Duprez,  sa  vie,  etc.,  treatises  on 
theory,  and  interesting  records, 
Histoire  de  la  Societe  des  Concerts 
and  Histoire  des  Concerts  populaires. 

Emerson,  Luther  Orlando,  compr., 
condr.  b.  Parsonfield,  Mass.,  Aug. 
3,  1820;  now  living  (1910)  at  Hyde 
Park,  near  Boston;  a  pioneer  in 
American  musical  work  for  the 
masses,  compr.  of  church  music, 
condr.  of  conventions,  indefatigable 
compiler  of  collections  of  songs  and 
hymns,  The  Romberg  Collection,  The 
Wreath,  etc. 

Emery,  Stephen  Albert,  teacher,  b. 
Paris,  Maine,  Oct.  4,  1841;  d.  Boston, 
Apr.  15,  1891.  After  lessons  from 
Edwards  in  Portland,  studied  with 
Plaidy,  Richter,  and  Hauptmann  at 
Leipzig  and  with  Spindler  at  Dres- 
den; came  to  Boston  1866;  taught 
in  N.  E.  Cons,  from  1867;  prof,  of 
harm.  Bost.  Univ.  Coll.  of  Music; 
asst.  editor  Mus.  Herald;  composed 
some  songs,  wrote  text-books,  Studies 
in  Pf.  Playing  and  Elements  of  Har- 
mony. 

Enckhausen  (enk-how-sen),  Heinrich 
Friedrich,  orgt.  b.  Celle,  Aug.  28, 
1799;  d.  Hanover,  Jan.  15,  1885. 
Pupil  of  Aloys  Schmitt,  and  his 
successor  as  court  orgt.  and  director 
of  Singakademie ;  composed  opera 
Der  Savoyard;  orch.,  church  mus.,  pf. 
mus.,  and  book  of  chorals. 

Engel,  Carl,  writer,  b.  Thiedenweise, 
near  Hanover,  July  6,  1818;  d. 
Kensington,  Eng.,  Nov.  17,  1882. 
Studied  with  Enckhausen  and  Hum- 
mel; 1846  gave  pf.  lessons  in  Man- 
chester, Eng.;  soon  after  moved  to 


ENGELMANN 


ERNST 


London;  collector  of  books  and  rare 
instruments;  author  of  Music  of 
Most  Ancient  Nations,  Introduction 
to  study  of  National  Music,  Musical 
Instruments  of  All  Countries,  A  Cata- 
logue of  Instr.  in  South  Kensington 
Museum  (designed  to  be  accomp.  by 
lengthy  notes),  Musical  Myths  and 
Facts,  etc.,  all  accurate  and  at  same 
time  readable. 

Engelmann,  Hans,  compr.  b.  Berlin, 
1872;  father  and  uncle  professional 
musicians;  began  musical  education 
at  seven,  pupU  of  Reinecke,  Loesch- 
horn,  Mashel,  and  Hermann  Mohr; 
received  a  good  literary  education 
before  coming  to  the  United  States 
in  1892;  located  in  Philadelphia 
where  he  still  lives  (1910);  profes- 
sional work  consists  of  teaching,  con- 
ducting and  composing;  his  compo- 
sitions number  over  1200  pieces, 
mostly  intended  for  teaching  pur- 
poses; has  written  some  successful 
pieces  in  the  salon  style,  notably 
Forget-me-nots  and  Melody  of  Love. 

Enna,  August,  compr.  b.  Nakskov, 
Denmark,  May  13,  1860.  Almost 
entirely  self-taught;  about  1880, 
when  member  of  small  traveling 
orch.,  composed  1st  opera  A  Village 
Tale;  played  for  dancing  and  taught 
in  Copenhagen  until  in  1883  became 
condr.  of  provincial  company;  some 
compositions  attracted  attention  of 
Gade  who  helped  him  to  study  in 
Germany  1888-89;  after  his  return 
opera  Die  Hexe  met  with  great  suc- 
cess; Cleopatra  was  unsuccessful 
until  its  second  season;  Aucassin 
and  Nicolette  1896  and  vln.  con- 
certo have  continued  his  popularity. 

Epstein  (ep-stln),  Julius,  pst.,  teacher, 
b.  Agram,  Aug.  7,  1832.  Pupil  of 
Lichtenegga,  Halm,  and  Rufinatscha; 
prof,  of  pf.  at  Vienna  Cons.  1867, 
Briill  and  Sembrich  among  pupils. 
Daughters  Rudolfine,  'cellist,  and 
Eugenie,  vlt.,  toured  Austria  and 
Germany  1876-77. 

Eratosthenes  (er-a-tos'-then-es),  writer. 
b.  Cyrene,  276  B.  C.;  d.  Alexandria, 
Egypt,  195  B.  C.  Custodian  of 
Alexandria  Library;  wrote  on  mathe- 
matics; Katasterismoi  contains  notes 
on  Greek  music,  but  his  work  on 
music  is  lost,  except  for  quotations 
in  Ptolemy. 


Erk,  Ludwig  Christian,  compr.  b. 
Wetzlar,  Jan.  6,  1807;  d.  Berlin,  Nov. 
25,  1883.  Lessons  from  father  Adam 
Wilhelm,  orgt.  (1779-1820)  and  from 
Andr£;  1826,  as  prof,  at  seminary  at 
Moers  on  Lower  Rhine,  started 
festivals  of  popular  and  part-song 
music;  1836  prof,  of  royal  seminary, 
Berlin;  1843  founded  Manner  gesang- 
verein;  1857  director  of  mus.;  1877 
resigned;  collection  Deutsche  Lieder- 
hort  (vol.  1  Modern  Folk-songs;  vol.  2 
those  of  13-18th  centuries)  of  great- 
est value;  published  several  other 
collections. 

Erkel  (ar-kel),  Ferencz,  compr.  b. 
Gyula,  Hungary,  Nov.  7,  1810;  d. 
Pesth,  June  15,  1893.  Taught  by 
father;  gave  pf.  recitals;  condr.  of 
traveling  company;  1838  of  Nat'l 
Theatre,  Budapest;  first  opera  Bath- 
ori  Maria  1840  at  once  success- 
ful, but  greatest  success  was  Hun- 
yady  Laszld  1844;  of  later  operas, 
Bank  Ban  1861  most  popular; 
founder  of  Philh.  Concerts  and  prof, 
of  instrumentation  at  Nat'l  Acad.; 
his  numerous  songs,  like  most  of  his 
operas,  are  too  intensely  national 
in  feeling  to  have  cosmopolitan 
interest. 

Erlanger  (ar'-lon-zha),  Camille,  compr. 
b.  Paris,  May  25,  1863.  Pupil  at 
Paris  Cons,  of  Delibes;  Prix  de  Rome 
1888;  won  success  with  St.  Julien 
I'hospitalier,  dram,  legend  1894;  Le 
juif  polonais  opera  1900,  and  Le  fils 
de  I  etoile  1904,  moderately  success- 
ful; orchestral  music  and  some  songs. 

Ernst,  Alfred,  writer,  b.  Perigueux, 
April  9,  1860;  d.  Paris,  May  15, 
1898.  Wrote,  beside  many  articles, 
L'oeuvre  dramatique  de  Berlioz,  and 
several  books  on  Wagner,  whose 
theories  he  defended  and  whose 
Nibelungen  Ring  and  Meistersinger 
he  translated. 

Ernst,  Heinrich  Wilhelm,  vlt.  b. 
Briinn,  Moravia,  May  6,  1814;  d. 
Nice,  Oct.  14,  1865.  At  Vienna 
Cons,  studied  comp.  with  Seyfried, 
vln.  with  Bohm,  later  with  Mayseder; 
on  his  first  tour  at  16  followed  Paga- 
nini  about  to  learn  his  style;  after 
6  years  in  Paris  1832-38,  he  toured 
throughout  Europe  until  he  settled 
in  London  about  1850;  playing  re- 
markable for  technical  ability  and 


ESCHMANN 


FALCKE 


strerfgth  of  tone;  compositions,  Ele- 
gie,  Carnaval  de  Venise,  are  brilliant 
and  difficult. 

Eschmann  (esh'-man),  Johann  Carl, 
pst.  b.  Winterthur,  Switzerland, 
Apr.  12,  1826;  d.  Zurich,  Oct.  27, 
1882.  Pupil  of  Moscheles  and  Men- 
delssohn; teacher  at  Kassel  and 
Zurich;  composed  some  pf.  music 
and  valuable  method  Wegweiser 
durch  die  Klavierliteratur. 

Esipoff,  Stepan  [pseud,  of  Burnand, 
Arthur  Bransby],  compr.  b.  Croydon, 
Eng.,  Dec.  5,  1859.  Composer  of 
popular  vocal  and  instrumental 
music. 

Essipoff,  Annette,  pst.  b.  St.  Peters- 
burg, Feb.  1,  1851.  Pupil  at  St.  P. 
Cons,  of  Wielhorski  and  Leschetizky; 
1874  began  series  of  successful  con- 
cert tours,  playing  in  London,  Paris 
1875,  America  1876;  wife  of  Leschet- 
izky, later  divorced;  1885  pst.  to 
Prussian  court;  1893-1908  prof,  at 
St.  P.  Cons.;  playing  marked  by 
unusual  skill  and  artistic  feeling, 
sometimes  exaggerated. 


Este  [pron.  and  often  spelled  East], 
Michael,  compr.  Conjecturally  son  of 
Thomas.  Comp.  madrigals,  anthems, 
duets  for  viols,  and  Ayerie  Fan- 
cies of  four  parts  that  may  be  sung 
as  well  as  played;  best-known  madri- 
gal How  Merrily  We  Live;  retainer 
of  Lady  Hutton;  Mus.  B.  Cambridge 
1606;  master  of  choristers  Lichfield 
Cathedral. 

Este  [or  Est  or  East],  Thomas,  printer. 
Important  early  English  publisher 
and  printer;  greatest  work  Whole 
Booke  of  Psalmes,  "  with  tunes,  in 
four  parts,"  harmonized  by  10  noted 
contemporaries. 

Eyken  (l-ken),  Jan  Albert  van,  orgt. 
b.  Amersfoort,  Holland,  Apr.  26, 
1823;  d.  Elberfeld,  Sept.  24,  1868. 
Pupil  at  Leipzig  Cons,  and  at  Dres- 
den, of  Schneider;  orgt.  at  Amster- 
dam 1848-1853,  when  he  became 
orgt.  and  prof,  in  mus.  school  at 
Rotterdam;  till  death  at  Elberfeld; 
successful  concert  player,  compr.  of 
excellent  org.  mus.  and  of  Lucifer 
(tragedy),  chamber  music  and  songs. 


Faelten  (fel'-ten),  Carl,  pst.,  teacher, 
b.  Ilmenau,  Thuringia,  Dec.  21,  1846. 
Studied  with  Montag  and  Schoch, 
chiefly  learned  from  association  with 
Raff  at  Frankfort  Cons.;  after 
military  service  in  Franco-Prussian 
war  taught  in  Raff's  Cons.,  and  after 
1882  at  Peabody  Inst.  Baltimore; 
1885  taught  at  N.  E.  Cons.,  of 
which  he  was  director  1890-1897, 
when  he  founded  school  of  pf.  play- 
ing in  Boston. 

Fahrbach  (far-bak),  Philipp,  compr.  b. 
Vienna,  Oct.  25,  1815;  d.  there,  Mar. 
31,  1885.  Pupil  of  Lanner,  condr. 
of  orch.  of  his  own  and  of  military 
band;  compr.  of  operas  and  popular 
dance  music.  Son  Philipp  compr. 
b.  Vienna,  1843;  d.  there,  Feb.  15, 
1894.  Bandmaster  at  Pesth,  suc- 
cessor of  father  in  Vienna;  also  pro- 
lific compr.  of  popular  marches  and 
dance  music. 

Fairlamb,  James  Remington,  compr 
b.  Philadelphia,  Jan.  23,  1837;  d.  N. 
Y.,  April,  1908.  After  being  orgt.  in 
several  churches  studied  at  Paris 


Cons,  and  in  Florence;  II.  S.  con- 
sul at  Zurich;  orgt.  in  New  Jersey 
and  New  York,  notably  St.  Ignatius'; 
has  composed  2  operas  and  consider- 
able sacred  music. 

Faisst  (fist),  Emmanuel  Gottlob  Fried- 
rich,  orgt.  b.  Esslington,  Wurttem- 
berg,  Oct.  13,  1823;  d.  Stuttgart, 
June  5,  1894.  Taught  himself  org. 
before  9;  after  studying  theology 
continued  to  work  alone  with  Men- 
delssohn's advice;  1844  settled  in 
Stuttgart  where  he  gave  concerts; 
founded  soc.  for  classical  ch.  music 
and  with  others  Cons,  of  which  he 
became  director;  composed  cantatas, 
motets,  org.  mus.;  edited,  with 
Lebert,  Cotta  Ed.  classical  pf.  mus. 

Falcke  (falk),  Henri  [Theodore  Oscar], 
pst.  b.  Paris,  Feb.  27,  1866.  Pupil 
of  Saint-Saens,  Massenet,  Dubois, 
and  Mathias  at  Paris  Cons.,  taking 
1st  prize  in  pf.;  studied  also  in  Ger- 
many; combines  methods  of  both 
countries  in  successful  teaching,  pub- 
lished Ecole  des  arpeges,  pf.  pieces, 
etc. 


FANING 


Faning,  Joseph  Eaton,  compr.  b. 
Helston,  Cornwall,  May  20,  1850. 
Pupil  at  Roy.  Acad.  of  Mus.,  of 
Bennett  and  Steggall;  Mendelssohn 
Scholarship  1873;  Mus.  Doc.  Camb. 
1900;  teacher  at  Royal  Acad.  and 
Guildhall  School;  director  of  mus. 
at  Harrow  School  1885-1901;  condr. 
London  Male  Voice  Club  and  Madri- 
gal Society;  composed  2  operettas, 
symph.,  anthems,  part-songs,  the 
popular  Miller's  Wooing,  and  the 
Song  of  the  Vikings. 

Farinelli  (fa-ri-nelli),  [pseud,  of  Carlo 
Broschi],  singer,  b.  Naples,  Jan.  24, 
1705;  d.  Bologna,  July  15,  1782. 
Artificial  soprano,  taught  by  Por- 
pora,  early  favorite  in  Naples  under 
name  "  il  ragazzo  ";  d6but  in  Rome 
1722  was  followed  by  success  in 
other  Italian  cities;  defeated  in 
contest  with  Bernacchi  at  Bologna, 
he  took  lessons  of  B.;  after  second 
visit  to  Vienna  1731  added  to 
bravura  abilities  those  of  pathetic 
expression;  went  to  England  in 
1734  to  lend  his  aid  to  Porpora  and 
Senesino  in  their  opposition  to 
Handel;  after  their  victory  F.  re- 
mained in  London  for  2  years  win- 
ning great  fortune;  1736  went  to 
Spain  where  he  cured  Philip  V  of 
melancholy  by  singing,  and  remained 
as  his  pensioner;  in  1759  he  was 
sent  to  Bologna  where  he  lived  in 
elegant  seclusion;  probably  the  most 
wonderful  of  all  singers  in  the  sono- 
rous richness  and  skilful  manipula- 
tion of  his  voice. 

Farmer,  Henry,  vlt.  b.  Nottingham, 
Eng.,  May  13,  1819;  d.  there,  June  25, 
1891.  Self-taught  player  on  vln.  and 
org.,  in  music  business  for  50  years; 
orgt.  and  condr.  of  Sacred  Harmonic 
Soc.  in  Nottingham;  compr.  of  mass 
and  vln.  concertos,  author  of  New 
Violin  School,  and  other  methods. 

Farnaby,  Giles,  compr.  b.  Truro,  Corn- 
wall, about  1560  (?);  d.,  place  and 
date  unknown,  prob.  after  1620. 
Graduated  Mus.  B.  Oxford  1592; 
contributed  to  Este's  Whole  Booke 
of  Psalmes,  published  canzonets,  and 
some  pieces  included  in  Fitzwilliam 
Virginal  Book. 

Farrar,  Geraldine,  sop.  b.  Melrose, 
Mass.,  Feb.  28,  1882.  Studied  with 
Mrs.  J.  H.  Long  in  Boston,  with 


Trabadello  in  Paris,  and  Lilli  Lfehmann 
in  Berlin;  d6but  Berlin  Oct.  15,  1901, 
followed  by  engagement  at  Royal 
Opera;  N.  Y.  debut  1906;  remark- 
able popularity  in  Berlin,  continued 
in  N.  Y.  1906-1910. 

Farwell,  Arthur,  compr.,  publisher, 
writer,  b.  St.  Paul,  Minn.,  Apr.  23, 
1872.  Graduated  Mass.  Inst.  of 
Technology  1893;  studied  with 
Homer  Norris  in  Boston  and  Hump- 
erdinck,  Pfitzner  and  Guilmant  in 
Europe;  lecturer  on  mus.  at  Cornell 
Univ.;  founder  1901  of  "  Wa-Wan 
Press,"  which  aimed  to  issue  original 
American  music,  whether  that  of 
Indians  or  of  ultra-modern  com- 
posers; F.  himself  has  composed 
pieces  on  Indian  themes,  songs,  etc. 
and  written  many  articles  on  Indian 
music;  1909  in  New  York  on  edi- 
torial staff  of  Musical  America; 
1910  music  commissioner  for  public 
parks  and  recreation  piers,  N.  Y. 

Fasch  (fash),  Carl  Friedrich  Christian, 
compr.  b.  Zerbst,  Nov.  18,  1736; 
d.  Berlin,  Aug.  3,  1800.  Son  of 
capellm.  Johann  Friedrich  (1688- 
1758);  cembalist  to  Frederick  the 
Great,  as  C.  P.  E.  Bach's  assistant 
1756  taught  during  Seven  Years' 
War;  capellm.  at  opera  1774-76; 
established  choral  reunions  which  led 
to  Singakademie;  composed  16-part 
mass,  and  some  other  works,  most  of 
which  he  had  burned  before  his  death. 

Faulkes,  William,  orgt.,  pst.,  compr.  b. 
Liverpool,  Nov.  4,  1863.  Pupil  of 
Wm.  Dawson  and  of  Dillon-New- 
man; orgt.  and  teacher  at  Liver- 
pool since  1886;  composed  pf.  con- 
certo, vln.  concerto,  chamber  mus., 
pf.  and  org.  pieces. 

Faure  (fo-ra),  Gabriel  Urbain,  compr. 
b.  Pamiers,  Ariege,  May  12,  1845. 
Pupil  of  Niedermeyer,  Dietsch,  and 
Saint-Saens;  orgt.  at  Rennes,  at 
several  churches  (finally  Madeleine) 
Paris;  1896  prof,  counterpoint  and 
fugue  at  Cons.;  director  there  1905; 
inspector  of  Beaux-Arts  1892;  has 
written  music  to  several  plays 
(Pelleas  et  Melisande,  Promethee), 
a  symphony,  opera,  cantata  (La 
Naissance  de  Venus),  pf.  pieces,  and 
especially  beautiful  songs,  notably 
La  bonne  chanson,  En  priere,  Au 
cimetiere,  Les  roses  d'Ispahan;  music 


FAURE 


FETIS 


is  distinguished  for  original  harmonies, 
and  depth  of  expression,  especially 
in  songs. 

Faure  (for'),  Jean  Baptiste,  dram, 
baritone,  b.  Moulins,  Allier,  Jan.  15, 
1830.  Choir  boy  at  Madeleine  under 
TreVaux;  pupil  at  Cons,  of  Ponchard 
and  Moreau-Sainti,  winning  1st  prize 
for  comic  opera;  sang  with  success  at 
Ope'ra  Comique  1852-60,  at  Ope"ra 
1861-76;  taught  at  Cons.  1857-60; 
after  1876  sang  in  concerts;  published 
valuable  L'art  du  chant;  his  voice 
was  remarkable  for  its  range,  flexi- 
bility, and  adaptability  to  different 
roles;  composer  of  The  Palms;  mar- 
ried 1859  Caroline  Letebvre  (b.  1828) 
singer  at  Opera  Comique. 

Faustina,  see  Hasse,  Faustina. 

Favarger  (fa-var-zha),  Rene,  compr. 
b.  Paris,  1815;  d.  Etretat,  near 
Havre,  Aug.  3,  1868.  For  many 
years  teacher  in  London;  compr.  of 
graceful  and  popular  pf.  pieces. 

Fay,  Amy,  pst.,  writer,  b.  Bayou 
Goula,  Miss.,  May  21,  1844.  Pupil 
of  Tausig,  Kullak,  Deppe,  and  Liszt; 
related  experiences  with  different 
methods  in  popular  Music  Study  in 
Germany;  teaching  in  New  York. 

Fayrfax,  Robert,  compr.  b.  Bayford, 
Hertfordshire,  1470(7);  d.St.Albans, 
Feb.,  1529.  Mus.  Doc.  Cambridge 
1504;  gentleman  of  the  chapel  under 
Henry  VIII ;  accounted  chief  musician 
of  time  by  contemporaries;  composed 
masses,  motets,  two  songs,  etc. 

Feo  (fa-o),  Francesco,  compr.,  teacher. 
b.  Naples,  about  1685;  d.  after  1740 
(?).  Pupil  and  successor  of  Ghizzi 
at  Naples  Cons,  della  Pieta;  com- 
posed opera  L'Amor  tirannico  and 
five  others;  chief  importance  .in 
church  mus.,  masses,  etc. 

Ferrabosco,  Alfonso,  compr.  b.  Bologna, 
about  1525;  d.  Turin,  May  8,  1589. 
Settled  in  England  1562,  already  at- 
tached to  queen's  service;  while  in 
disgrace  at  court  accused  of  murder- 
ing musician  attached  to  Sir  Philip 
Sidney;  1568  again  in  queen's  favor; 
traveled  abroad,  returned  1572,  left 
the  country  1578;  wrote  much 
admired  madrigals,  pieces  for  lute, 
music  for  masques,  etc.  Son  Alfonso 
(1575-March,  1628)  compr.  of  music 
to  Jonson's  masques. 


Ferrari  (fer-ra-ri),  Gabrielle,  pst.,  compr. 
b.  Paris,  pupil  of  Ketten  in  piano 
and  Duprato  in  composition;  also 
studied  with  Dubois  and  Gounod; 
appeared  in  public  as  a  virtuoso  at 
twelve  to  fourteen  years  of  age; 
her  compositions  consist  of  orchestral 
suites,  piano  pieces  and  songs. 

Fern,  Baldassare,  singer,  b.  Perugia, 
Dec.  9,  1610;  d.  there,  Sept.  8,  1680. 
Artificial  sop.;  choir  boy  in  service 
of  Cardinal  Crescenzio  at  Orvieto, 
and  later  1665-80  of  Ferdinand  III 
at  Vienna;  retired  to  Italy  1675; 
surpassed  in  brilliance,  endurance, 
quality  of  tone,  pathos  of  expres- 
sion; probably  greatest  singer  that 
ever  lived. 

Fesca,  Alexander  Ernst,  pst.  b.  Carls- 
ruhe,  May  22,  1820;  d.  Brunswick, 
Feb.  22,  1849.  Son  of  Friedrich 
Ernst  (1789-1826),  distinguished  vlt.; 
pupil  of  Rungenhagen,  Schneider, 
and  Taubert;  concert  tours  1839-40 
of  brilliant  success;  composed  4 
operas,  chamber  mus.,  and  songs,  all 
of  which  gave  promise. 

Festa,  Costanzo,  compr.  b.  Rome, 
about  1490;  d.  there,  Apr.  10,  1545. 
Singer  in  Pontifical  Chapel  1517- 
1545;  composed  in  style  somewhat 
like  Palestrina's,  motets,  madrigals 
(of  which  Down  in  a  flow'ry  vale 
was  long  most  popular  in  England), 
Te  Deum,  still  sung  at  election  of 
new  pope. 

Fetis  (fa-tis'),  Frangois  Joseph,  his- 
torian, theorist,  b.  Mons,  Belgium, 
Mar.  25,  1784;  d.  Brussels,  Mar.  26, 
1871.  After  lessons  on  org.  from 
father,  and  on  vln.,  and  after  preco- 
cious compositions,  studied  at  Paris 
Cons,  under  Rey,  Boieldieu,  and 
Pradher;  1803  in  Vienna;  published 
symph.  overture,  octets,  sonatas; 
began  study  of  hist,  of  notation, 
uncompleted;  revised  ritual  of  Ro- 
man church,  never  published;  after 
loss  of  wife's  fortune  orgt.  and 
teacher  at  Douai;  1821  prof,  at 
Paris  Cons.;  1827  librarian  there; 
1827-1832  edited  Revue  musicale; 
1833  director  of  Brussels  Cons.; 
music  of  transitory  interest;  wrote 
useful  manuals  of  song,  pf.  play- 
ing, etc.,  classical  text-book  on 
counterpoint  and  fugue,  very  re- 
markable Biographic  universelle  des 


FIBICH 


FIORAVANTI 


musiciens,  Histoire  generate  de  la 
musique,  Musique  mise  a  la  portee  de 
tout  le  monde,  many  articles  and 
reviews,  all  marred  by  partiality  of 
judgment,  but  all  distinguished  by 
clearness  of  statement,  originality 
of  thought  and  research. 

Fibich  (fe'-bik),  Zdenko,  compr.  b. 
Seborschitz,  Bohemia,  Dec.  21,  1850; 
d.  Prague,  Oct.  10,  1900.  Studied 
at  Vienna  and  Prague,  composed 
and  conducted  symph.  at  14;  pupil 
at  Leipzig  Cons,  of  Moscheles, 
Richter,  and  Jadassohn;  greatly 
influenced  by  Schumann;  studied 
with  V.  Lachner  at  Mannheim; 
after  1874  in  Prague,  teaching,  con- 
ducting at  theatre  and  at  Russian 
church;  retired  1881;  wrote  about 
700  works,  operas,  chamber  music, 
symph.  poems,  songs,  etc.;  as  nation- 
al compr.  less  important  than  Sme- 
tana  or  Dvorak. 

Fiedler  (fed-ler),  August  Max,  pst., 
condr.  b.  Zittau,  Dec.  31,.  1859. 
Lessons  from  father;  first  appear- 
ance at  10;  won  scholarship  at 
Leipzig  Cons,  where  studied  with 
Reinecke,  Paul,  and  Jadassohn; 
1882  teacher  at  Hamburg  Cons., 
since  1894  director;  cpndr.  in  Ham- 
burg of  concerts  of  his  own  and  of 
Philharmonic  Soc.,  and  as  guest  in 
St.  Petersburg,  Dresden,  Berlin,' 
London,  and  Italy;  condr.  N.  Y. 
Philharmonic  1904,  Boston  Symph. 
Orch.  (1908-11);  has  comp.  symph., 
songs,  pf.  and  chamber  mus. 

Field,  John,  pst.,  composer,  b.  Dublin, 
July  26,  1782;  d.  Moscow,  Jan.  11, 
1837.  Son  of  vlt.,  grandson  of  orgt. 
who  was  first  teacher  and  a  merci- 
lessly severe  one;  apprenticed  to 
Clementi  in  London,  where  he  dis- 
played pf.  for  sale  and  received  pf.  | 
lessons;  de'but  London  1794;  ac- 
companied C.  to  Paris  1802,  to 
Germany,  then  to  Russia  where  he 
remained  on  C's  return  1804,  and 
where  he  won  great  success  as 
player  and  teacher;  1823  similar 
success  at  Moscow;  1832-33  toured 
to  London,  Paris,  and  Italy,  there 
unappreciated  and  ill  he  was  taken 
back  to  Moscow  by  Russian  family; 
especially  important  in  pf.  playing 
and  pf.  music  as  link  between ' 
Clementi  and  Chopin;  of  his  many  \ 


compositions  most  important  are 
poetic,  graceful  Nocturnes  which  led 
way  to  all  later  free  compositions; 
as  performer  remarkable  for  ful- 
ness of  tone,  variety  of  expression, 
and  repose  of  manner. 

Fielitz  (fe-lits),  Alexander  von,  compr. 
b.  Leipzig,  Dec.  28,  1860.  Pupil  of 
Kretschmer  and  Schulhoff ;  1886-87 
condr.  under  Nikisch;  prof,  at  Stern 
Cons,  in  Berlin,  and  theatre  condr. 
at  Zurich  and  Leipzig;  for  several 
^ears  at  a  Chicago  conservatory; 
then  returned  to  Berlin;  compr.  of 
two  orch.  suites  and  many  songs 
(cycle  Eliland). 

Fillmore,  John  Comfort,  teacher,  b. 
New  London,  Conn.,  Feb.  4,  1843; 
d.  there,  Aug.  15,  1898.  Stud- 
ied with  G.  W.  Steele  at  Oberlin 
Coll.,  and  at  Leipzig  Cons.;  director 
at  Oberlin,  Ripon  Coll.,  Milwaukee, 
and  Claremont,  Cal.;  author  of 
History  of  Pianoforte  Music,  with 
biog.  sketches,  etc.,  and  Study  of 
Omaha  Indian  Music;  articles  on 
mus.  history  and  Indian  music  in 
Etude  and  Music,  his  researches  in 
which  were  based  on  personal  investi- 
gation for  several  years. 

Finck,  Henry  Theophilus,  writer,  b. 
Bethel,  Mo.,  Sept.  22,  1854.  Lived 
in  Oregon,  graduated  at  Harvard 
where  he  studied  with  Paine;  went 
to  1st  Bayreuth  festival  1876, 
studied  in  Munich;  also  student 
of  anthropology  and  psychology; 
author  of  Romantic  Love  and  Per- 
sonal Beauty,  Wagner  and  his  Works, 
Chopin  and  Other  Essays,  Songs  and 
Song  Writers,  Life  of  Grieg,  etc.; 
critic  for  N.  Y.  Evening  Post;  his 
Wagner  and  his  Works  has  had  great 
influence  in  spreading  cult  in  U.  S. 
Success  in  Music  (1910)  a  mine  of 
practical  suggestion  to  musicians. 

Findeisen  (fint'-I-sen),  Otto,  compr.  b. 
Brunn,  1862.  Capellm.  at  Leipzig Th.; 
compr.  of  successful  operettas,  Der 
alte  Dessauer  1890,  Kleopatra  1897. 

Fioravanti  (fi-or-a-van'-ti),  Valentino, 
compr.  b.  Rome,  Sept.  11,  1764; 
d.  Capua,  June  16,  1837.  Studied 
under  Jannaconi  and  Sala;  first 
opera  produced  Rome  1784;  wrote 
about  50  others,  most  popular  Le 
Cantatrice  villane  1806  and  /  virtuosi 


FIORILLO 


FOOTE 


ambulanti,  Paris  1807;  1816  maestro 
at  St.  Peter's;  ch.  music  of  poorer 
quality  than  really  original  though 
superficial  operas. 

Fiorillo  (fi-o-ril'-lo) ,  Federigo,  vlt.,  compr. 
b.  Brunswick,  1753;  d.,  after  1823 
when  he  was  still  living  in  Paris. 
Taught  by  father  Ignazio,  Neapoli- 
tan, condr.  of  opera;  went  to  Po- 
land 1780;  1785  played  at  concerts 
spirituels  in  Paris;  1788  in  London 
played  viola  in  Salomon's  quartet; 
after  1794  left  London,  lived  in 
Amsterdam  and  Paris;  of  many 
compositions  Caprices  or  Etudes  de 
violon  are  of  great  value  to  vlts. 

Fisher,  William  Arms,  compr.  b.  San 
Francisco,  Apr.  27,  1861.  Studied 
with  J.  P.  Morgan,  Horatio  Parker, 
Wm.  Shakespeare  and  with  Dvorak 
at  Nat.  Cons.  N.  Y.,  where  he  also 
taught;  since  1895  living  in  Boston, 
musical  editor  for  Oliver  Ditson 
Company;  compr.  of  attractive  songs, 
anthems,  etc. 

Flagler,  Isaac  Van  Vleck,  orgt.  b. 
Albany,  N.  Y.,  May  15,  1844;  died 
March  16,  1909.  Studied  under 
H.  W.  A.  Beale,  Batiste  in  Paris, 
etc.;  orgt.  in  Poughkeepsie,  Chicago, 
Albany,  and  Auburn;  orgt.  and 
lecturer  at  Chautauqua;  org.  teacher 
and  lecturer  at  Syracuse  and  Cor- 
nell Univs.,  at  Utica  Cons.;  pub. 
pieces  and  collections  for  org. 

Flemming,  Friedrich  Ferdinand,  compr. 
b.  Neuhausen,  Saxony,  Feb.28,  1778; 
d.  Berlin,  May  27,  1813.  Practising 
doctor  of  medicine,  member  of 
Zelter's  Liedertafel,  for  which  he 
wrote  choruses,  notably  music  to 
Horace's  Integer  vitce. 

Floersheim  (fle"rs-him),  Otto,  compr. 
b.  Aix-la-Chapelle,  Mar.  2,  1853. 
Studied  with  F.  Hiller  at  Cologne; 
in  N.  Y.  after  1875;  editor  Musical 
Courier  1880;  manager  of  Berlin 
branch  for  a  number  of  years; 
compr.  of  pf.  pieces  and  small  orch. 
works,  Consolation,  etc. 

Floridia  (flo-re'-dia),  Pietro,  compr. 
b.  Modica,  Sicily,  May  5,  1860. 
Studied  at  Naples  with  Cesi,  Serrao, 
Polidori,  and  Rossi;  comic  opera 
successful  in  1882;  toured  Italy  as 
pst.;  taught  in  Palermo  Cons.; 
dir.  Bergamo  Cons.;  1902  elected 
dir.  of  Benedetto  Marcello  Cons., 


Venice;  came  to  N.  Y.  1904;  later 
teacher  at  Cincinnati  Coll.  Mus.; 
opera  Maruzza  success  at  Venice 
etc.,  1894,  La  Colonia  libera  1899, 
Padletta,  produced  at  Cincinnati  1910. 
Composed  beside  pf .  pieces,  suite,  etc. 

Flotow  (flo-to),  Friedrich  Freiherr 
von,  compr.  b.  Teutendorf,  Meck- 
lenburg, Apr.  27,  1812;  d.  Darm- 
stadt, Jan.  24,  1883.  Study  in  Paris 
with  Reicha  begun  1827,  interrupted 
by  July  Revolution  1830;  wrote 
first  opera  Pierre  et  Catherine  in 
retirement;  after  return  to  Paris 
1836  began  long  series  of  operas 
produced  with  varying  success  in 
Paris,  Berlin,  and  London;  with- 
drew to  estate  near  Vienna  about 
1868;  has  certain  gift  for  tuneful 
melody,  but  lacks  originality  of 
rhythm  and  skill  in  orchestration; 
Martha  and  Alessandro  Stradella 
only  operas  which  have  lived;  are 
both  revised  from  earlier  versions. 

Foerster  (fe>s-ter),  Adolf  Martin, 
teacher,  compr.  b.  Pittsburg,  Pa., 
Feb.  2,  1854.  Taught  by  his  mother 
and  at  Leipzig  Cons,  by  Richter, 
Papperitz,  Grill,  etc.;  after  teaching 
at  Fort  Wayne,  Ind.,  settled  in  Pitts- 
burg  as  teacher  of  singing  and 
compr.;  compr.  occasional  music 
(Festival  overture,  Dedication  march), 
orch.  music,  songs,  etc. 

Foerster  (fe>ster),  Alban,  compr.  b. 
Reichenbach,  Ger.,Oct.  23, 1849.  Pu- 
pil at  Dresden  Cons.,  dir.  Singakad- 
emie  at  Neustrelitz;  1881  teacher 
and  dir.  at  Dresden;  1903  prof,  and 
court  capellm.at  Dessau;  composed 
chamber  music,  instructive  pf.  works 
and  3  operas. 

Foley,  Allan  James  [known  as  Foli], 
bass.  b.  Cahir,  Tipperary,  Ireland, 
Aug.  7,  1835;  d.  Southport,  Eng., 
Oct.  20,  1899.  Lived  in  Hartford, 
Conn.,  as  boy;  pupil  of  Bisaccia  at 
Naples;  after  de"but  at  Catania 
1862  played  in  Turin,  Milan,  Paris, 
and  London,  where  he  continued 
for  several  seasons  after  1865;  sang 
also  in  America,  South  Africa,  Russia, 
etc.;  also  successful  in  concerts;  voice 
of  unusual  range  and  power. 

Foote,  Arthur  William,  compr.  b. 
Salem,  Mass.,  Mar.  5,  1853.  Pupil 
of  B.  J.  Lang,  S.  A.  Emery,  and  J. 
K.  Paine;  graduated  at  Harvard 


FORCHHAMMER 


FOX 


1875;  1878-1910  orgt.  in  Boston; 
composed  symphonic  poem  Fran- 
cesco, da  Rimini,  cantatas  Wreck  of 
the  Hesperus,  Skeleton  in  Armor, 
chamber  music;  lacking  in  directness 
and  dramatic  force  necessary  for 
larger  works,  he  has  shown  great 
skill  in  composition  and  grace  and 
ease  of  melody  in  orchestral  suite  in 
D  minor,  in  string  quartet,  pf .  quin- 
tet, and  in  songs,  notably  some  set- 
tings of  Shakesperean  words;  has 
also  had  wide  influence  on  mus.  cul- 
ture in  Boston  as  a  teacher,  and  as 
president  of  Cecilia  Society;  influ- 
ence always  tending  toward  a  sober, 
intelligent  classicism. 

Forchhammer  (fork-ham-mer),  The- 
ophil,  orgt.  b.  Schiers,  Gray  Cantons, 
July  29,  1847.  Pupil  at  Stuttgart 
Cons.;  orgt.  at  Magdeburg;  compr. 
of  org.  mus.;  author  of  Fuhrer  durch 
die  Orgel-Ltteratur. 

Forkel,  Johann  Nikolaus,  writer,  b. 
Meeder,  near  Coburg,  Feb.  22,  1749; 
d.  Gottingen,  Mar.  17,  1818.  Son 
of  shoemaker;  chorister  at  Liineberg; 
chorprafect  at  Schwerin;  began  to 
study  law  at  Gottingen,  but  became 
orgt.  and  mus.  director  of  Univ.; 
works  on  theory  and  history  of 
music  not  always  accurate  and  large- 
ly out-of-date;  his  AUgemeine  Liter  a- 
tur  der  Mus.,  and  his  Ueber  Joh.  Seb. 
Bach's  Leben,  Kunst  und  Kunst- 
werke  are  interesting  as  the  first  of 
their  respective  classes. 

Formes  (for'-mes),  Karl  Johann,  boss. 
b.  Mulheim-pn-Rhine,  Aug.  7,  1816; 
d.  San  Francisco,  Dec.  15, 1889.  Son 
of  sexton,  member  of  choir;  sang  at 
concerts  for  Cathedral  fund  at 
Cologne  1841,  where  he  made  oper- 
atic delmt  1841;  sang  at  Mannheim, 
London  1852-57;  in  America  1857; 
then  alternating  between  continents; 
Berlin  1874;  remarkable  voice  and 
good  presence  apparently  were  not 
developed  to  the  highest  point  possi- 
ble. Brother  Theodor,  tenor  (1826- 
1874),  also  successful  singer  in  Ger- 
many, came  with  K.  J.  to  America. 

Foster,  Muriel,  contralto,  b.  Sunder- 
land,  Eng.,  Nov.  22,  1877.  Pupil  of 
Anna  Williams  at  Royal  Coll.  of 
Mus.  1896-1900;  winning  prizes  and 
scholarship;  since  d6but  at  Bradford 
1896  has  gained  increasing  popularity 


at   English    concerts   and   festivals; 

girt  of  Angel  in  Dream  of  Gerontius 
usseldorf  1902,  and  London  1903; 
has  toured  in  Germany  1902,  Canada 
and  U.  S.  1904. 

Foster,  Myles  Birket,  orgt.,  compr.  b. 
London,  Nov.  29,  1851.  Son  of  artist 
Birket;  after  being  articled  to  Hamil- 
ton Clarke  was  pupil  at  Roy.  Acad. 
of  Mus.  of  Sullivan,  Prout,  and 
Horton  (org.);  various  org.  appoint- 
ments in  London;  mus.  editor  to 
Boosey,  publisher;  composed  symph., 
cantatas  for  children,  Cinderella, 
Beauty  and  the  Beast;  songs,  a  service 
and  about  40  anthems;  author  of 
Anthems  and  Anthem  Composers. 

Foster,  Stephen  Collins,  compr.  b. 
near  Pittsburg,  July  4,  1826;  d.  New 
York,  Jan.  13,  1864.  Student  at 
Athens  Acad.,  Pa.,  and  Jefferson 
Coll.,  but  his  own  mus.  teacher; 
learned  to  play  flageolet  at  7;  comp. 
waltz  at  14,  published  Open  thy  Lat- 
tice, Love  1842;  between  1845-1864 
he  wrote  about  175  songs,  almost  all 
to  words  of  his  own;  many  of  these 
were  introduced  to  public  at  "  min- 
strel shows  ";  Old  Uncle  Ned,  Mas- 
sa's  in  the  cold,  cold  ground,  Ellen 
Boyne  (tune  to  which  was  set  John 
Brown's  body),  The  Old  Folks  at 
Home  (or  Swanee  River)  are  few  of 
best  known;  his  songs  have  so  largely 
the  simple  pathetic  melodies  of  real 
folk-song  that  his  frequent  use  of  the 
negro  dialect  has  led  to  an  assertion 
that  he  borrowed  his  tunes  from 
negroes. 

Fox,  Felix,  pst.  b.  Breslau,  May  25, 
1876.  Began  study  of  music  at  an 
early  age;  family  moved  to  Boston, 
U.  S.  A.,  in  1881;  returned  to  Ger- 
many for  study  in  1892,  at  Leipzig 
Cons,  under  Jadassohn  and  Reinecke; 
received  Helbig  Prize  on  graduation 
when  he  performed  Widor's  F  minor 
concerto;  later  spent  two  years  in 
Paris  with  Philipp  where  he  appeared 
in  various  concerts  and  played  for 
the  first  time  in  Paris.  MacDowell's 
Sonata  Tragica;  after  he  returned  to 
U.  S.  in  1897  made  concert  tour  sea- 
son 1897-98;  located  in  Boston  as 
teacher  and  pianist,  playing  recitals 
in  various  cities;  1898  with  Carlo 
Buonamici  organized  the  Fox-Buo- 
namici  Piano  School  in  Boston. 


FRANCHETTI 


FRESCOBALDI 


Franchetti  (fran-ket'-ti),  Alberto,  Ba- 
ron, compr.  b.  Turin,  Sept.  18,  1860. 
Pupil  of  Coccon  and  Magi,  of  Drae- 
seke  at  Dresden,  and  at  Munich 
Cons.;  though  skilful  in  orchestra- 
tion and  brilliant  handling  of  spec- 
tacular scenes,  owes  presentation 
of  operas  largely  to  means  and  posi- 
tion [Grove];  composed  symph.  and 
operas,  Asraele  1888,  Germania  1902. 

Franck,  Cesar  (sa-zar'  fron),  Auguste, 
compr.  b.  Liege,  Dec.  10,  1822;  d. 
Paris,  Nov.  8,  1890.  Studied  at 
Lie"ge  Cons.;  gave  concerts  at  11;  at 
Paris  Cons.  1835-1842  under  Zim- 
mermann  on  pf.,  Berton  comp., 
Benoist  org.;  took  prizes  in  all  but 
was  prevented  by  father  from  com- 
peting for  Prix  de  Rome;  taught  in 
Brussels  1842^44,  then  in  Paris 
where  he  became  orgt.  at  Ste.  Clo- 
thilde  in  1857  and  teacher  of  org.  at 
Cons,  in  1872;  his  works  include 
operas  Hulda,  Ghiselle;  oratorios 
Ruth  et  Boaz,  La  redemption,  Les 
beatitudes;  symph.  poems  Psyche 
(with  chorus),  Les  Bolides,  Le  chas- 
seur maudit,  Les  Djinns  (for  pf .  and 
orch.),  symph.  in  D  min.,  chamber 
music,  notably  sonata  for  vln.  and  pf ., 
and  quintet  for  pf.  and  strings;  pf. 
mus.,  two  operas,  and  songs.  Little 
appreciated  during  his  life,  he  lived 
quietly  in  Paris  delighting  in  his  hard 
work,  his  org.  playing,  and  his  classes 
in  org.  and  comp.  where  he  taught 
most  of  the  noteworthy  members 
of  the  present  generation, — d'Indy, 
Chausson,  Ropartz,  Holmes,  and 
others.  His  compositions  are  dis- 
tinguished for  simplicity  of  spirit 
and  absolute  sincerity  of  expression; 
for  the  utterance  of  a  calm,  strong, 
uplifting,  resigned  philosophy;  his 
org.  music  breathes  lofty  mysticism, 
his  chamber  music  is  of  almost  or- 
chestral richness;  technically  the 
qualities  of  his  style  are  abundance 
of  melody,  richness  and  originality 
of  harmony,  architectural  dignity 
of  rhythm ;  its  defects  are  monotony, 
occasional  too  great  length.  (See  im- 
portant life  by  his  pupil,  d'Indy.) 

Franck,  Melchior,  compr.  b.  Zittau, 
about  1573;  d.  Coburg,  June  1,  1639. 
Lived  in  Augsburg  1601,  Nuremberg 
1602,  capellm.  to  Duke  of  Coburg 
after  1603;  composed  sacred  and 
secular  songs,  now  mostly  unknown; 


paid  special  attention  to  instrumental 
accomp.  of  his  songs,  which  prede- 
cessors had  neglected;  extraordi- 
narily prolific,  with  great  influence 
on  contemporaries. 

Franco,  early  writer  on  mus.,  commen- 
tator on  and  possibly  inventor  of 
time-table  in  music;  for  statement 
of  arguments  for  and  against  the 
existence  of  three  of  the  name  and 
identity  of  any  one  with  philosopher 
of  llth  century  see  Grove  and  articles 
there  referred  to. 

Franz  (frantz),  Robert,  compr.  b. 
Halle,  June  28,  1815;  d.  there,  Oct. 
24,  1892.  Son  of  Christoph  Franz 
Knauth  (surname  dropped  with 
royal  permission  in  1847);  learned 
pf.  ana  org.  playing  in  secret,  against 
wishes  of  parents  who  grudgingly 
permitted  him  to  have  instruction 
from  Schneider  in  Dessau  1835-37; 
on  return  to  Halle,  enforced  leisure 
was  spent  in  profitable  study  of  Bach, 
Handel,  etc.;  1st  set  of  12  songs,  pub. 
1843,  won  praise  from  Schumann, 
Mendelssohn,  and  Liszt;  received 
various  appointments  at  Halle,  orgt., 
condr.  of  Singakademie,  mus.  air. 
at  Univ. ;  deafness  which  had  begun 
in  1841  and  nervous  disorders  dating 
from  1858  forced  him  into  retirement 
in  1868;  his  pecuniary  needs  were 
relieved  by  fund  from  concerts  given 
in  Germany  by  Helene  Magnus, 
Joachim,  Liszt,  etc.,  and  in  America 
by  Lang,  Dresel,  etc.;  wrote  some 
articles  and  arranged  accomp.  for 
much  of  Bach  and  Handel;  pre- 
eminent as  compr.  of  songs,  of  which 
he  wrote  about  350,  remarkable 
for  unswerving  fidelity  to  meaning 
and  text  of  poems,  and  extraordinary 
variety  of  expression,  from  simplic- 
ity and  tender  pathos  to  romantic 
suggestions  of  subtler  moods. 

Frescobaldi,  Girolamo,  orgt.,  compr.  b. 
Ferrara  (baptized  Sept.  9),  1583; 
d.  Rome,  Mar.  2, 1644.  While  youth- 
ful chorister  under  Luzzaschi  was 
known  as  singer  and  orgt. ;  at 
Mechlin  1607;  at  Antwerp  1608, 
where  he  published  collection  of  mad- 
rigals; orgt.  at  St.  Peter's  in  Rome 
after  1608  except  period  1628-33 
when  he  was  court  orgt.  at  Florence; 
Froberger  a  pupil  1637-41;  his 
works,  madrigals  and  toccatas,  etc., 
for  org.  are  of  great  value  foi 


FREY 


FUX 


"  daring  innovations  in  harmony,  new 
developments  in  fugal  form,  and 
improvements  in  notation."  [Baker.] 

Frey  (fri),  Adolph,  compr.,  pst.  b. 
Landau,  Rheinfahr,  Germany,  Apr. 
4,  1865.  Graduated  at  Stuttgart; 
studied  with  Mme.  Schumann, 
Brahms,  and  Faisst;  mus.  teacher 
and  accompanist  to  Prince  Alexan- 
der Friedrich  of  Hesse;  prof,  of  music 
at  Syracuse  University,  N.  Y. 

Friedheim  (fred'-hlm),  Arthur,  pst.  b. 
St.  Petersburg,  Oct.  26,  1859.  Early 
completed  university  education;  di- 
rected theatre  orch.  in  Dresden; 
attracted  attention  of  Liszt,  whom 
he  followed  to  Weimar,  Rome,  and 
Naples;  successful  career  as  pst. 
throughout  Europe;  in  America  1891 ; 
teacher  Chicago  Coll.  Mus.  1897; 
now  living  in  Munich. 

Fries  (frez),  Wulf  Christian  Julius,  'cel- 
list, b.  Garbeck,  Holstein,  Germany, 
Jan.  10,  1825;  d.  Roxbury  (Boston), 
Mass.,  Apr.  29,  1902.  Taught  him- 
self; played  in  theatre  orch.  in  Bergen 
after  1842;  also  at  Ole  Bull's  concerts ; 
came  to  Boston  1847;  1847-1870 
member  of  Mendelssohn  Quintet 
Club,  with  A.  Fries,  Gerloff,  Leh- 
mann,  and  Greiner;  also  member  of 
Mus.  Fund  Orch.  and  Harvard  Mus. 
Ass'n;  played  with  Rubinstein  1873; 
after  about  that  year  ceased  exten- 
sive traveling,  but  continued  to  play 
in  public  at  intervals  up  to  1901. 

Froberger,  Johann  Jakob,  orgt.  b. 
Halle,  1605(7);  d.  Hericourt,  Haute- 
Saone,  France,  May  7,  1667.  Court 
orgt.  to  Ferdinand  III  at  Vienna 
1637-1657,  except  1637^11  when  he 
was  studying  with  Frescobaldi  at 
Rome;  visited  London  1662;  at  last 
in  service  of  Duchess  of  Wurttem- 
berg  on  her  French  estates;  wrote 
many  toccatas,  etc.,  for  org. 

Frost,  Charles  Joseph,  orgt.  b.  West- 
bury-on-Trym,  Eng.,  June  20,  1848. 
Pupil  of  father,  Cooper,  Goss,  and 
Steggall;  several  positions  as  orgt.; 
Mus.  Doc.  Cambridge  1882;  teacher 
at  Guildhall  School;  composed  can- 
tata By  the  Waters  of  Babylon,  Festi- 
val Te  Deum,  org.  music,  etc. 

Frugatta  (fru-gat'-ta),  Giuseppe,  pst. 
b.  Bergamo,  May  26,  1860.  Pupil 
of  Bazzini  and  Andreoli  at  Milan 
Cons.;  prof,  there  and  at  Collegio 


reale;  pst.  of  considerable  fame  and 
compr.  of  chamber  mus.  which  has 
won  prizes  in  Milan  and  in  London; 
also  of  pf.  works,  Croquis  poetiques, 
Pastels,  etc. 

Fry,  William  Henry,  compr.  b.  Phila- 
delphia, Aug.  10,  1813;  d.  Santa 
Cruz,  Sept.  21,  1864.  Son  of  pub- 
lisher; pupil  of  Meignen;  began  to 
compose  early,  and  in  1845  produced 
first  American  opera  Leonora,  after- 
ward given  in  N.  Y.  1858;  also  wrote 
symphonies,  cantatas,  and  2d  opera 
Notre  Dame  de  Paris  1863;  chiefly 
notable  for  influence  on  musical 
taste  in  America;  as  foreign  corre- 
spondent and  musical  editor  of  N.  Y. 
Tribune  and  as  lecturer. 

Fuchs  (fooks),  Karl  Dorius  Johann, 
pst.,  critic,  b.  Potsdam,  Oct.  22, 
1838.  Pupil  of  father,  Von  Billow, 
Weitzmann,  and  Kiel;  1871-75  living 
at  Berlin;  1875-79  at  Hirschberg; 
after  1879  condr.  of  Gesangverein  at 
Danzig;  orgt.  and  teacher;  author 
of  several  works,  chiefly  with  Rie- 
mann  of  Praktische  Anleitung  zum 
Phrasieren  1886  (N.  Y.  1892) ;  as  per- 
former of  great  intellectual  inten- 
sity, with  breadth  of  phrasing. 

Fuchs,  Robert,  compr.  b.  Frauenthal, 
Feb.  15,  1847.  Brother  of  Johann 
Nepomuk  (1842-1899),  dir.;  pupil 
and  prof,  since  1875  at  Vienna  Cons.; 
composed  2  operas,  pf.  concerto, 
trios,  etc.,  but  especially  5  serenades 
for  string  orch.  widely  popular. 

Fursch-Madi  (fursh-madi)  .Emmy,  dram, 
sop.  b.  Bayonne,  France,  1847;  d. 
Warrenville,  N.  J.,  Sept.  20,  1894. 
Pupil  at  Paris  Cons.;  sang  in  Paris, 
created  Alda  in  Brussels;  visited 
America  1874,  London  1879;  later 
seasons  in  New  York. 

Fux  (fooks),  Johann  Joseph,  theorist. 
b.  Hirtenfefd,  Upper  Styria,  1660; 
d.  Vienna,  Feb.  13,  1741.  Nothing 
is  known  of  his  early  life  or  studies; 
after  1696  he  held  various  positions  as 
orgt.  and  capellm.  in  Vienna;  wrote 
operas  and  not  very  original  church 
music  much  of  which  not  published; 
chief  works  a  re  Gradus  ad  Parnassum, 
dialogue  on  theory  and  practice  of 
composition,  studied  and  followed 
by  many  distinguished  successors, 
and  Missa  canonica,  and  an  o  cappetta 
mass,  containing  all  kinds  of  canons. 


GABRIEL 


GADSKI 


Gabriel  [Mary  Ann],  Virginia,  compr. 
b.  Banstead,  Surrey,  Feb.  7,  1825; 
d.  London,  Aug.  7,  1877.  Pupil  of 
Thalberg  and  Molique;  composed 
cantata  Evangeline,  several  operas, 
Widows  Bewitched,  Who's  the  Heir? 
etc.;  and  many  songs;  married 
1874  G.  E.  March  who  wrote  many 
of  her  librettos. 


Gabrieli  (gab-ri-a'-li),  Andrea,  compr. 
b.  Venice,  about  1510;  d.  there, 
1586.  Pupil  of  Willaert,  chorister 
and  later  2d  orgt.  at  St.  Mark's; 
teacher  of  his  nephew,  Giovanni, 
Hasler,  and  Sweelinck;  of  great 
fame  in  Germany  and  Netherlands 
as  well  as  in  Italy;  composed 
Cantiones  Sacrae,  Psalmi  Poeni- 
tentiales,  masses,  ricercari,  etc.,  for 
org. 

Gabrieli,  Giovanni,  compr.  b.  Venice, 
1557;  d.  there,  Aug.  12, 1612  or  1613. 
Pupil  of  his  uncle  and  1st  orgt.  of 
St.  Mark's;  teacher  of  Schiitz  and 
Michael  Praetorius;  unusual  contra- 
puntal skill  is  shown  in  motets  of 
16  and  19  parts;  difficulty  of  parts 
suggests  that  they  were  to  be  played 
rather  than  sung  [Grove];  especially 
remarkable  for  handling  of  two  or 
more  choirs  of  voices  in  dialogue 
form,  and  for  variety  of  accom- 
paniment. 

Gabrilovitch  (ga-bril-o'-vitch),  Ossip 
Salomonovitch,  pst.  b.  St.  Peters- 
burg, [Jan.  26]  Feb.  7,  1878.  After 
first  pf .  lessons  from  brother,  studied 
under  Tolstoff  at  St.  Petersburg 
Cons.,  where  he  was  advised  and 
superintended  by  Rubinstein;  won 
Rubinstein  Prize  1894;  studied  with 
Leschetizky  and  Navratil  at  Vienna; 
since  1898  has  had  successful  career 
as  virtuoso,  playing  in  America  1900, 
1901,  1902,  1903,  and  every  year 
since  1906;  has  published  some 
small  pf.  works.  Married,  1909, 
Clara  Clemens  (daughter  of  "  Mark 
Twain"),  concert  singer. 

Gabussi  (ga-boos'-si),  Vincenzo,  compr. 
b.  Bologna,  1800;  d.  London,  Sept. 
12,  1846.  Pupil  of  Mattei;  pro- 
duced 3  operas  without  great  success, 


one,  Ernani,  Paris  1841;  1825-1840 
taught  singing  in  London;  chiefly 
known  for  vocal  duets. 

Gade  (ga-da),  Niels  Wilhelm,  compr. 
b.  Copenhagen,  Feb.  22,  1817;  d. 
there,  Dec.  21,  1890.  Refused  to 
follow  father's  trade  of  instrument- 
maker;  after  study  under  Wexschall, 
Berggreen  and  Weyse,  became  vlt. 
in  royal  orch.  at  Copenhagen,  where 
he  gained  much  from  practical 
experience;  Ossian  overture,  on 
approval  of  Spohr  and  Schneider, 
won  prize  1841  and  royal  stipend  for 
travel;  except  for  trip  to  Italy, 
G.  lived  in  Leipzig  1842-48,  as 
friend  of  Schumann  and  Mendels- 
sohn; assistant  and  successor  1847 
of  latter  as  condr.  at  Gewandhaus; 
after  1848  lived  in  Copenhagen  as 
orgt.,  condr.  of  Musikverein,  court 
capellm.,  prof.;  though  somewhat 
influenced  by  his  friends  the  German 
romanticists,  G's  music  has  some 
originality,  and  a  Scandinavian  flavor 
of  its  own;  he  was  the  precursor  of 
composers  who  have  more  definitely 
brought  out  that  flavor  and  the  one 
who  aroused  international  interest  in 
Northern  music.  He  wrote  8  symph., 
many  part-songs,  and  cantatas  Com- 
ala,  Erlkonigs  Tochter,  etc. 

Gadsby,  Henry  Robert,  compr.  b. 
Hackney,  London,  Dec.  15,  1842; 
d.  Putney,  Nov.  11,  1907.  Instruc- 
tion received  as  member  of  St. 
Paul's  choir  from  W.  Bayley  all  he 
had;  orgt.  at  Brockley;  prof,  of 
harmony  at  Queen's  Coll.,  London, 
prof,  at  Guildhall,  member  of  Philh. 
Soc.;  composed  many  cantatas,  The 
Lord  of  the  Isles,  etc.,  part-songs,  etc. 

Gadski,  Johanna  [Emilia  Agnes],  dram, 
sop.  b.  Anclam,  Pomerania,  June  15, 
1871.  Pupil  of  Schroeder-Chaloupa; 
de"but  Berlin  1889,  followed  by 
engagements  in  Berlin,  Mayence, 
Bremen,  concerts  in  Holland;  Amer- 
ican season  with  Walter  Damrosch 
1895,  subsequent  seasons  at  Metro- 
politan, London  after  1899;  1899 
at  Bayreuth;  married  H.  Tauscher, 
1892. 


GAFORIO 


GANZ 


Gaforio  (ga-fo'-rio),  [sometimes  spelled 
Gafori,  Gafuri,  etc.],  Franchino,  theor- 
ist, b.  Lodi,  Jan.  14,  1451 ;  d.  Milan, 
June  24, 1522.  Lived  in  many  Italian 
cities,  Mantua,  Verona,  Naples 
(whence  he  was  driven  by  plague), 
finally  at  Milan,  where  he  was  singer 
and  master  of  boys  in  cath.,  first 
singer  in  choir  of  Ludovico  Sforza, 
founder  of  music-school;  writings 
on  theory  valuable  at  time,  histor- 
ically interesting  for  evidence  in 
contest  between  schools  of  Milan 
and  Bologna. 

Gagliano  (gal-yi-a'no),  Marco  da, 
compr.  b.  Gagliano,  near  Florence, 
about  1575;  d.  there,  Feb.  24,  1642. 
From  father's  name  called  Marco  di 
Zanobia,  but  family  name  really 
quite  unknown.  Pupil  of  Bati, 
became  maestro  at  S.  Lorenzo;  1607 
founder  of  Accademia  degV  elevati 
in  Florence;  his  opera  Dafne, 
performed  Mantua  1607,  an  early 
example  of  effort  toward  dramatic 
expression  in  music;  wrote  responses 
for  Holy  Week,  madrigals,  etc. 

Galilei  (ga-li-la'-i),  Vincenzo,  writer. 
b.  Florence,  about  1533;  d.  there, 
about  1600.  Father  of  Galileo  G., 
the  astronomer;  distinguished  lute- 
player,  vlt.;  one  of  those  who  dis- 
cussed revival  of  Greek  dramatic 
theories  at  house  of  Count  Bardi  in 
Florence;  said  to  be  one  of  first  who 
composed  music  for  single  voice 
with  instr., — experiment  which  led 
to  opera;  wrote  discourses  chiefly 
directed  against  his  former  teacher, 
Zarlino,  and  his  theories  about  the 
scale  and  tuning  of  lutes. 

Galin  (ga-lan),  Pierre,  theorist,  b. 
Samatan,  Gers,  P>ance,  1786;  d. 
Bordeaux,  Aug.  31,  1821.  Teacher 
of  mathematics  at  Bordeaux,  who 
invented  Meloplaste,  method  of 
teaching  sight-reading  adopted  by 
Galin-Paris-Chev6  system;  it  con- 
sists in  referring  all  notes  to  the 
tonic  ("  movable  do  "  principle),  and 
in  using  figures  to  represent  the 
various  notes  of  the  scale. 

Gallico  (gal'-le-co),  Paolo,  pst.  b. 
Trieste,  May  13,  1868.  Debut  with 
recital  at  15;  a  pupil  at  Vienna  Cons. 
of  Epstein,  won  several  prizes;  after 
success  on  Continent  settled  in  N.  Y. 
1892,  as  teacher. 


Galuppi  (ga-loop'-pi),  Baldassare  [called 
II  Buranello],  compr.  b.  Burano,  near 
Venice,  Oct.  18,  1706;  d.  Venice, 
Jan.  3,  1785.  First  lessons  from  his 
father;  after  failure  of  an  opera, 
studied  under  Lotti;  1741  visited 
England,  went  twice  to  St.  Peters- 
burg; was  maestro  at  St.  Mark's, 
director  of  Cons.,  and  orgt.  besides 
compr.  of  some  74  operas,  many 
written  to  librettos  by  Goldoni,  all 
quite  obsolete;  composed  also  for 
harpsichord.  (Poem  by  R.  Browning 
does  not  refer  to  any  particular 
toccata.) 

Gand  (gan),  Charles  Nicholas  Eugene, 
vln.-maker.  b.  Paris,  June  5,  1825; 
d.  Boulogne-sur-Seine,  Feb.  5,  1892. 
Son  of  Charles  Frangois,  eminent 
maker  and  remarkable  repairer  of 
vlns.;  pupil  in  vln.  "playing  of 
Baillot  at  Cons.,  1st  prize  1839; 
partner  of  his  brother  Charles 
Adolphe  and  after  C.  A's  death  of 
Bernardel  brothers;  among  most 
distinguished  of  modern  makers; 
keen  knowledge  of  old  instr. 

Ganne  (gan),  Gustave  Louis,  compr. 
b.  Buxieres-les-Mines?,  Allier,  France, 
Apr.  5,  1862.  Pupil  at  Paris  Cons, 
of  Dubois  and  Franck;  condr.  orch. 
Nouveau  Theatre  Paris;  compr.  of 
waltzes,  marches,  songs,  ballets,  comic 
operas  Rabelais,  Les  saUimbanques, 
Hans,  the  Flute-player. 

Gansbacher  (gens'-bak-er),  Johann 
Baptist,  compr.  b.  Sterzing,  Tyrol, 
May  8,  1778;  d.  Vienna,  July  13, 
1844.  Studied  under  Albrechts- 
berger,  and  under  Vogler  at  Vienna 
and  Darmstadt,  where  Meyerbeer 
and  Weber  were  companions;  after 
wandering  life  as  soldier  part  of 
time,  capellm.  in  Vienna  1823;  com- 
posed 216  works,  masses,  offertories, 
marches,  serenades,  etc.;  only  few 
published. 

Gantvoort  (gant'-vort),  Arnold  J., 
teacher,  b.  Amsterdam,  Dec.  6,  1857. 
Came  to  U.  S.  1876;  taught  in 
various  places;  1894  head  of  normal 
dept.  for  public  school  music  teachers, 
Cincinnati  Coll.  of  Mus.;  has  pub- 
lished public  school  readers. 

Ganz  (gans),  Rudolf,  pst.  b.  Zurich, 
1877.  First  appearance  as  'cellist  at 
10;  began  study  of  pf.  at  16  with 


GANZ 


GASPARO  DA  SAL6 


uncle,  Eschmann-Dumur;  later  stud- 
ied pf.  and  comp.  with  Busoni,  at 
one  of  whose  concerts  he  appeared 
as  soloist  and  compr.  1899;  1901- 
1905  taught  in  Chicago;  resigned 
to  lead  virtuoso  life. 

Ganz,  Wilhelm,  pst.  b.  Mayence, 
Nov.  6,  1833.  Son  of  chorusmaster 
at  theatre  in  London,  where  he 
settled  in  1850;  pupil  of  Eckert, 
Anschiitz,  etc.;  after  1856  accom- 
panist for  Jenny  Lind  and  for  many 
other  prominent  singers;  2d  vln., 
joint  condr.  at  Wylde's  New  Phil- 
harmonic Soc.  Concerts,  continued 
1880-83  as  Ganz's  Orch.  Concerts 
where  many  works  were  first  per- 
formed; prof,  of  singing  at  Guildhall 
School  of  Music. 

Garat  (ga-ra),  Pierre  Jean,  singer,  b. 
Ustaritz,  Apr.  25,  1764;  d.  Paris, 
Mar.  1,  1823.  Pupil  of  Beck  at 
Bordeaux;  studied  law  at  Univ.  of 
Paris,  but  abandoned  it;  private 
secretary  to  Count  of  Artois,  favorite 
of  Marie  Antoinette;  after  Revolu- 
tion sang  at  concerts  Feydeau; 
prof,  of  singing  at  Cons,  after  1799; 
taught  Roland,  Nourrit,  and  Mile. 
Duchamp  whom  he  married;  his 
remarkable  voice  included  both 
tenor  and  baritone  registers;  prodig- 
ious memory  on  which  he  chiefly 
relied  rather  than  on  knowledge. 

Garcia  (gar-si' -a  or  gar-the'-a),  Manuel 
del  Popolo  Vicente,  singer  [real  name 
Rodriguez].  b.  Seville,  Jan.  21, 
1775;  d.  Paris,  June  9,  1832. 
Cathedral  chorister,  pupil  of  Ripa 
and  Almarcha;  known  as  singer, 
condr.  and  compr.  at  17;  great 
success  in  Paris  1808-1811;  1811- 
1816  in  Naples,  singer  in  Murat's 
chapel,  profiting  by  advice  from 
Anzani,  composing,  singing  in  Ros- 
sini's operas  (part  of  Almaviva  was 
written  for  him);  1816  in  Paris, 
until  Catalani's  mismanagement 
drove  him  in  1817  to  London;  1819- 
24  again  in  Paris,  then  again  in 
London  until  1825  when  he  brought 
family  and  troupe  to  N.  Y.,  where 
they  gave  Italian  operas  with  great 
success;  after  short  season  in  Mex- 
ico, of  the  profits  of  which  they  were 
robbed,  returned  to  Paris,  where 
G.  continued  to  compose  and  teach; 
his  own  children  Marie  [see  Malibran  ] 


and  Pauline  [see  Viardot-Garcia], 
Nourrit,  Rimbault  among  pupils; 
of  his  43  operas  none  is  remembered. 
His  son,  Manuel  Garcia  [Patricio 
Rodriguez],  teacher,  b.  Madrid,  Mar. 
17,  1805;  d.  London,  July  1,  1906. 
After  lessons  from  his  father  and 
F6tis,  went  to  N.  Y.  as  bass  in 
father's  troupe;  1829  taught  in 
Paris,  among  his  pupils  were  Jenny 
Lind,  Henriette  Nissen,  Catherine 
Hayes,  Mme.  Marchesi,  Santley, 
Son  tag;  invented  laryngoscope; 
wrote  Memoire  sur  la  voix  humaine; 
taught  at  Paris  Cons.  1842;  leave 
of  absence  1849,  resigned  1850; 
1848  teacher  at  Royal  Acad.  Lon- 
don, where  he  remained  until  1895; 
hundredth  birthday  celebrated  with 
international  compliment. 

Garden,  Mary,  dram.  sop.  b.  Aberdeen, 
'Scotland,  Feb.  20,  1877.  Came  to 
Chicago  very  young;  pupil  of  Mrs. 
Duff,  of  Bangor,  Me.;  coached  by 
Trabadello  and  Fugere  at  Paris; 
d6but  at  Op£ra  Comique  in  Char- 
pentier's  Louise,  1900,  led  to  engage- 
ment; created  Melisande  and  other 
parts;  one  of  few  foreign  singers 
really  accepted  by  French  audiences; 
N.  Y.  debut  Manhattan  Opera,  1908, 
reengaged  1909-10. 

Garlandia,  Johannes  de,  writer,  b. 
England,  or  Ireland,  about  1190. 
Studied  at  Oxford  and  Paris;  1218- 
1232  at  Toulouse;  after  1229  at 
Univ.;  still  living  in  Paris  1245; 
poet  and  grammarian  as  well  as 
author  of  treatises  on  mus.  theory 
and  notation,  printed  in  Cousse- 
maker's  Scriptores. 

Garrett,  George  Mursell,  compr.  b. 
Winchester,  Eng.,  June  8,  1834;  d. 
Cambridge,  Apr.  8,  1897.  Pupil  of 
Elvey  and  Wesley;  orgt.  at  Madras 
1854-1856;  1857  at  St.  John's  Coll. 
Camb.;  1873  orgt.  to  Univ.;  Univ. 
lecturer  and  examiner;  condr.  St. 
John's  Mus.  Soc.;  composed  ora- 
torio Shunammite  and  distinguished 
church  services. 

Gasparo  da  Salo  (gas-pa'-ro-da-sa-lo'), 
[family  name  Bertolotti],  vln.-maker. 
b.  Salo,  province  of  Brescia,  about 
1542;  d.  Brescia,  April  14,  1609. 
After  about  1563  gained  renown  at 
Brescia  as  maker  of  viols,  viola  da 
gambas,  and  contrabasses;  said  to 


GASTALDON 


G£DALGE 


have  modernized  form  of  vln.  by 
giving  /  holes  present  shape,  etc.; 
vlns.  of  his  make  not  remarkable. 

Gastaldon  (gas-tal'don),  Stanislas,  com- 
pr.  b.  Turin,  Apr.  7,  1861.  Has 
published  since  early  youth  great 
number  of  popular  pf.  pieces,  fan- 
tasias, etc.;  composed  one-act  opera 
Le  Pater  1894. 

Gatty,  Sir  Alfred  Scott,  compr.  b. 
Ecclesfield,  Yorkshire,  Apr.  25,  1847. 
Son  of  vicar;  studied  at  Cambridge; 
poursuivant  of  arms,  Herald's  Col- 
lege, London,  1880;  composed  2 
operettas,  Sanford  and  Merlon's 
Christmas  Party,  Not  at  Home,  songs 
and  books  for  children,  many  other 
songs  and  pf.  pieces. 

Gaul,  Alfred  Robert,  compr.  b.  Nor- 
wich, Eng.,  Apr.  30,  1837.  Choris- 
ter in  Cath.,  then  articled  to  Dr. 
Buck;  various  appointments  as  orgt.; 
condr.  Walsall  Philh.  Soc.;  teacher 
of  harmony  at  Birmingham  and 
Midland  Inst.;  works  include  can- 
tatas Hezekiah,  Ruth,  many  psalms 
and  tunes  of  popular  sentimentality; 
The  Holy  City  best  known  work. 

Gauntlett,  Henry  John,  orgt.  b.  Wel- 
lington, Shropshire,  July  9,  1805;  d. 
Kensington,  London,  Feb.  21,  1876. 
Though  showing  early  aptitude  for 
music  (was  orgt.  in  his  father's 
church  at  9)  he  became  lawyer  and 
practised  until  about  1842,  holding 
various  positions  as  orgt.  at  same 
time;  brought  about  introduction  of 
C  organ  in  Eng.,  instead  of  old  F 
and  G  instruments;  drew  attention 
to  Gregorian  music;  compiled  many 
collections  of  psalm-tunes,  composed 
favorite  hymn-tunes. 

Gavinies  (ga-vi-ne-az'),  Pierre,  vlt.  b. 
Bordeaux,  May  11,  1728;  d.  Paris, 
Sept.  9,  1800.  Appeared  in  Paris 
1741  at  Concerts  spirituels;  directed 
them  1773-77;  teacher  at  Cons,  after 
1795;  called  French  Tartini;  although 
probably  inferior  to  T.  in  originality 
and. ability,  yet  G.  had  great  influ- 
ence, as  result  of  virtuosity,  in  found- 
ing French  school;  composed  24  Mati- 
nees, difficult  and  interesting  studies, 
also  other  vln.  works  and  one  opera. 

Gayarre  (ga-yar-ra),  Julian,  dram, 
tenor,  b.  Roncal  or  Pampeluna,  Jan. 
9,  1844;  d.  Madrid,  Jan.  2,  1890. 
Son  of  blacksmith,  educated  by 


Eslava  at  Madrid  Cons.;  de"but  at 
Varese  followed  by  engagements  in 
Rome,  Milan,  Vienna,  St.  Peters- 
burg, South  America,  and  London 
(1877-1881),  and  in  Madrid,  where 
he  founded  a  school  of  singing  for 
poor  youths. 

Gaynor,  Mrs.  Jessie  L.,  compr.  b.  St. 
Louis,  Mo.,  Feb.  17, 1863.  Early  pf. 
lessons  from  Mrs.  Ralston,  later 
theory  and  pf.  from  Maas,  and 
theory  with  C.  B.  Cady,  A.  J.  Good- 
rich, and  A.  Weidig;  also  had  vocal 
lessons  with  J.  D.  Mehan,  and  Ida 
Lurig  in  Berlin;  taught  in  Iowa 
City,  in  Chicago,  and  at  school  of 
her  own  in  St.  Joseph,  Mo.,  where 
she  now  lives  (1910);  composed  a 
great  number  of  songs  and  pf.  pieces; 
though  she  has  written  some  songs 
for  adults  (Album  of  Rose  Songs),  her 
specialty  is  works  for  children  and 
about  them;  beside  many  single 
songs  (Discontented  Duckling,  etc.) 
she  has  written  a  Mother  Goose 
operetta  The  House  that  Jack  Built, 
and  has  had  share  in  many  collec- 
tions, Songs  of  the  Child  World, 
Melody  Pictures  for  Little  Players, 
Lilts  and  Lyrics  for  Kindergarten,  etc. 

Gebhard,  Heinrich,  pst.  b.  Germany, 
1878.  Studied  with  a  local  bandman, 
moved  to  the  U.  S.  1888,  the  family 
locating  in  Boston,  where  he  became 
a  pupil  of  Clayton  Johns  in  piano 
playing,  theory,  and  composition; 
later  studied  four  years  in  Vienna 
with  Leschetizky;  began  his  profes- 
sional career  in  Boston  in  1900;  since 
then  has  played  with  the  leading 
orchestras  and  chamber  music  organ- 
izations, and  is  considered  one  of  the 
foremost  American  pianists;  while 
he  presents  excellent  interpretations 
of  the  classics  he  is  especially  inter- 
ested in  the  works  of  modern  com- 
posers, such  as  Strauss,  Faure", 
D'Indy,  Franck,  Loeffler  and  Con- 
verse; his  compositions  include  a 
string  quartet,  a  sonata  for  violin 
and  piano  (performed  at  Vienna), 
and  a  number  of  piano  pieces. 

Gedalge  (zha-dalzhe'),  Andre,  compr. 
b.  Paris,  Dec.  27,  1856.  Pupil  at 
Cons,  of  Guiraud;  2d  Prix  de  Rome 
1886;  composed  several  successful 
operas,  Le  petit  Savoyard,  etc.,  2 
symph.,  pf.  concerto,  and  Traite  de 
fugue. 


GEIBEL 

Geibel  (gl-bel),  Adam,  compr.,  orgt. 
b.  Neuenhein,  near  Frankfort,  Ger- 
many, Sept.  15,  1855.  Became  blind 
in  infancy;  came  to  America  1862; 
studied  at  Penna.  Inst.  for  the  Blind 
until  1874,  chiefly  org.  with  D.  D. 
Wood;  taught  there  until  1901;  orgt. 
in  Philadelphia  since  1873;  publisher 
Geibel  and  Lehmann,  1887-1906, 
then  as  A.  G.  Mus.  Co.;  since  1902 
was  lecturer  on  his  own  life;  known 
as  compr.  since  1875  of  songs,  pf. 
pieces  and  choruses;  some  of  the  very 
popular  ones  are  Over  the  Hills  at 
Break  of  Day,  My  Kentucky  Babe, 
etc.;  cantata  The  Nativity  has  been 
successful. 

Gelinek,  Hermann  Anton  [called  Cer- 
vetti],  compr.  b.  Horzeniowecs,  Bo- 
hemia, Aug.  8,  1709;  d.  Milan,  Dec. 
5,  1779.  Priest  who  fled  from  mon- 
astery and  lived  in  Naples  under 
name  C.,  gaining  distinction  as  vlt. 
and  compr.  of  vln.  and  church  music. 

Geminiani  (jem-in-i-a'-ni),  Francesco, 
vlt.  b.  Lucca,  about  1680;  d.  Dublin, 
Sept.  17,  1762.  Pupil  of  Lunati, 
Corelli,  and  possibly  of  A.  Scarlatti; 
after  playing  in  band  at  Lucca,  came 
to  England  1714,  where  he  estab- 
lished himself  as  teacher  and  infre- 
quent concert  player;  lived  in  Dublin 
1736-42,  in  Paris  1749-55,  otherwise 
in  London;  important  as  introducer 
of  Corelli's  method  and  vln.  tech- 
nic  into  England,  as  author  of  Art 
of  Playing  the  Violin,  first  written 
method;  wrote  other  theoretical 
treatises,  and  composed  vln.  music, 
esteemed  at  time  very  difficult. 

Gemiinder  (ge-mun'-der),  August  [Mar- 
tin Ludwig],  vln.-maker.  b.  Ingel- 
fingen,  Wiirttemberg,  Mar.  22,  1814; 
d.  New  York,  Sept.  1,  1895.  Pupil 
of  father;  after  working  in  several 
places,  shop  of  own  at  Regensburg; 
came  to  America  1846;  first  estab- 
lished at  Springfield,  Mass.,  and 
after  1860  in  .N.  Y.;  international 
reputation  as  maker;  especially 
expert  in  copying  old  violins. 

Genee  (zhe"-na),  Franz  Friedrich  Rich- 
ard, compr.  b.  Danzig,  Feb.  7,  1823; 
d.  Baden,  near  Vienna,  June  15, 
1895.  Son  of  music  director  at 
theatre;  first  studied  medicine;  pupil 
in  mus.  of  Stahlknecht  at  Berlin; 
capellmeister  at  theatres  in  many 


GERLACK 

cities,  finally  at  Vienna,  from  1868 
to  retirement  1878;  clever  author  of 
librettos  of  which  he  wrote  many, 
some  with  F.  Zell  [pseud,  of  C.  Wal- 
zelj.  Composed  popular  but  transi- 
tory operas  (Nanon,  etc.). 

Georges  (zhor-zhe),  Alexandre,  compr., 
orgt.,  teacher,  b.  Arras,  Feb.  .25, 
1850.  Pupil  at  the  Ecole  Nieder- 
meyer,  Paris,  where  he  took  prizes; 
orgt.  of  St.  Vincent  de  Paul  and 
teacher  at  the  Ecole  Niedermeyer; 
compositions  include  operatic  and 
choral  works,  incidental  music  to 
plays,  orchestral  pieces,  and  songs. 

Gerardy  (zha-rar'-di),  Jean,  'cellist. 
b.  Spa,  Belgium,  Dec.  7,  1877.  Pupil 
of  Bellman  and  at  Verviers  Cons.; 
after  occasional  appearances  as  solo- 
ist, made  tours  as  virtuoso  after 
1888;  has  played  in  England,  France, 
Germany,  Russia,  Australia,  America 
(3  times)  notably  with  Marteau  and 
Ysaye  and  with  Kreisler  and  Hof- 
mann. 

Gerber  (ger-ber),  Ernst  Ludwig,  lexicog- 
rapher, b.  Sondershausen,  Sept.  29, 
1746;  d.  there,  June  30,  1819.  Son 
of  Heinrich  Nikolaus  (1702-1775), 
compr.,  orgt.;  pupil  and  successor  of 
father  as  orgt.  and  court  secretary; 
beginning  with  idea  of  bringing  up 
to  date  Walther's  Lexikon,  he  wrote 
under  considerable  difficulties  His- 
torisch-biographische  Lexikon  der 
Tonkiinstler  1742,  enlarged  and  cor- 
rected 1812;  though  necessarily  out 
of  date,  his  work  is  foundation  of  all 
succeeding  ones,  and  still  has  value. 

Gericke  (ge'-rik-g),  Wilhelm,  condr. 
b.  Graz,  Styria,  Apr.  18,  1845. 
Pupil  of  Dessoff  at  Vienna  Cons.; 
theatre  condr.  at  Linz,  2d  condr.  of 
Vienna  court  opera;  condr.  of  Gesell- 
schaft  concerts  after  Brahms  1880; 
1884-89  condr.  of  Bost.  Symph. 
Orch.;  1889-95  again  of  Gesellschaft 
concerts,  and  1898-1906  again  of 
Bost.  Orch.;  to  his  remarkable  effi- 
ciency in  drilling  the  Boston  Orch. 
owes  perfection  of  ensemble;  as  in- 
terpreter, though  sometimes  ac- 
cused of  dryness,  he  was  painstaking 
and  broad-minded. 

Gerlack  (ger'-lak),  Theodor,  compr. 
b.  Dresden,  June  25,  1861.  Student 
at  Berlin  Univ. ;  pupil  of  Fr.  Wiillner; 
cantata  Luthers  Lob  der  Musica 


GERMAN 


GIBBONS 


brought  him  into  notice;  theatre 
condr.  in  Sondershausen  and  in 
Posen,  now  at  Carlsruhe;  composed 
chamber  mus.,  several  cantatas,  suc- 
cessful opera  Matteo  Falcone. 

German,  Edward  [pseudonym  of  James 
E.  German- Jones],  compr.,  condr.  b. 
Whitchurch,  Shropshire,  Feb.  17, 
1862.  Early  organized  local  band, 
for  which  he  arranged  and  composed 
music  and  for  whose  concerts  he 
taught  himself  to  play  vln.  solos;  in 
1880  took  lessons  of  Hay,  and  entered 
Royal  Acad.,  where  he  studied  org. 
under  Steggall,  vln.  under  Weist- 
Hill  and  A.  Burnett;  taught  vln. 
there;  vlt.  in  several  theatre  orch.; 
1888  mus.  director  of  Globe  Th., 
London,  where  he  began  to  write 
incidental  music;  among  this  music, 
Henry  VIII  (for  the  Lyceum  1892) 
is  notable  and  has  become  popular 
as  suite;  completed  Sullivan's  music 
for  The  Emerald  Isle  1901 ;  composed 
Princess  of  Kensington  1903,  Tom 
Jones  1907. 

Germer  (gar'-mer),  Heinrich,  pf.  teacher. 
b.  Sommersdorf,  Saxony,  Dec.  30, 
1837.  Pupil  at  Berlin  Akademie; 
after  a  period  of  teaching;  settled 
in  Dresden  where  he  has  been  busy 
teaching  and  writing  valuable  books 
on  pf .  playing. 

Gernsheim  (garns'-hlm),  Friedrich,  pst., 
compr.  b.  Worms,  July  17,  1839. 
After  lessons  on  pf.  from  mother, 
Pauer,  and  Rozenheim,  and  in  theory 
from  Hauff,  he  studied  at  Leipzig 
Cons,  under  Moscheles,  Richter,  etc., 
and  then  for  a  year  in  Paris;  teaching 
at  Saarbruck  and  Cologne,  conductor 
at  Rotterdam,  teacher  at  Stern  Cons. 
1890-97;  and  director  Stern  Gesang- 
verein  1890-94;  composed  4  symph., 
concertos  for  pf.  and  vln.,  choral 
works,  and  chamber  music. 

Gerster  (gars'-ter),  Etelka,  dram.  sop. 
b.  Kaschau,  Hungary,  June  25,  1857. 
Pupil  of  Marchesi  at  Vienna  Cons.; 
de"but  Venice  1876;  success  at  Genoa, 
Marseilles,  Berlin  1877,  Pesth  (where 
she  married  impresario  Gardini), 
London,  and  America  (1878,  1883, 
1887);  last  appearance  in  London 
1890;  after  period  of  retirement  at 
Bologna,  opened  school  for  singers, 
Berlin,  1896;  remarkable  for  colora- 
tura singing  and  dramatic  ability. 


Gesualdo  (zha-swal'-do) ,  Carlo,  Prince 
of  Venosa,  compr.  b.  about  1560; 
d.  Naples,  1614.  Pupil  of  Nenna; 
one  of  so-called  chromaticists  (Ban- 
chieri,  Vincentino,  etc.);  in  seeking 
to  establish  Greek  system,  came  upon 
many  originalities;  chiefly  notable 
for  better  adaption  of  music  to  words. 

Gevaert  (ga-vart'),  Franjois  Auguste, 
compr.,  writer,  b.  Huysse,  near  Oude- 
narde,  July  31,  1828;  d.  Brussels, 
Dec.  24,  1908.  Son  of  a  baker,  who 
finally  permitted  him  to  follow 
marked  musical  bent;  studied  1841 
at  Ghent  Cons.,  under  Mengal  and 
Sommere;  while  orgt.  at  Jesuits'  ch., 
compositions  won  praise  and  1846 
prize  for  2  years'  travel;  after  pro- 
ducing 2  operas,  went  to  Spain, 
whence  reports  on  Spanish  music  are 
of  value,  to  Italy  and  Germany;  after 
series  of  successful  operas,  became 
chef  de  chant  at  Acad.  of  Mus.,  Paris, 
until  war  closed  Ope'ra  1870;  1871 
director  Brussels  Cons.;  composi- 
tions include  operas  and  cantatas 
for  national  occasions;  important 
works  are  researches  in  history, 
Histoire  et  theorie  de  la  musique 
dans  I'antiquite,  Les  origines  du  chant 
liturgique,  collections  Les  gloires 
d' Italic, etc.  and  Trailed' instrumenta- 
tion. 

Giardini  (zhiar-de'-ni),  Felice  de,  vlt. 
b.  Turin,  Apr.  12,  1716;  d.  Moscow, 
Dec.  17,  1796.  Chorister  at  Milan 
Cath.;  pupil  of  Paladini  for  singing, 
comp.,  and  harpsichord,  of  Somis  for 
vln.;  after  playing  in  theatre  orch.  in 
Rome  and  Naples,  appeared  in  Lon- 
don with  great  success  about  1750; 
became  leader  of  Ital.  opera  there 
1752,  manager  1756  and  1763-65, 
and  again  after  period  of  concert 
giving  and  leading  other  orch.,  1782- 
83;  1784  retired  to  Italy;  1790,  after 
failure  of  comic  opera  in  London, 
took  troupe  to  Russia;  not  much 
success  as  composer  or  manager;  as 
virtuoso  he  was  remarkable  for  brill- 
iancy and  absolute  purity  of  into- 
nation. 

Gibbons,  Orlando,  compr.  b.  Cam- 
bridge, 1583;  d.  Canterbury,  June 
5,  1625.  Chorister  at  King's  Coll. 
1596-97;  orgt.  Chapel  Royal  1604; 
Mus.  Bac.  Cambridge  1606  and  Mus. 
Bac.  and  Mus.  Doc.  Oxford  1622; 
1623  orgt.  at  Westminster  Abbey; 


GIGOUT 


GILSON 


1625  composed  music  for  reception  of 
Henrietta  Maria  at  Canterbury, 
where  he  died  suddenly;  of  his  music, 
Fantasias,  especially  those  printed 
in  Parthenia  (first  music  for  virginal 
1611)  are  as  masterly  as  anything 
before  Bach;  his  madrigals  (The 
Silver  Swan,  O  That  the  Learned 
Poets,  etc.)  and  anthems  show  the 
influence  of  Italian  music  and  an 
effort  to  adapt  the  music  to  expres- 
sion of  the  words.  His  son  Christo- 
pher, orgt.  b.  London  (baptized 
Aug.  22),  1615;  d.  there,  Aug.  20, 
1676.  Chorister  in  Chapel  Royal 
and  under  uncle,  Edward,  at  Exeter 
Cath.;  orgt.  at  Winchester  Cath. 
1638-1644  when  he  joined  royalist 
army;  1660  orgt.  at  Chapel  Royal, 
and  at  Westminster  Abbey;  com- 
posed some  motets,  but  is  said  to  have 
been  more  distinguished  as  performer. 

Gigout  (zhi-go),  Eugfcne,  orgt.,  compr. 
b.  Nancy,  Mar.  23,  1844.  Pupil  at 
maltrise  of  Nancy  Cath.  and  at 
Niedermeyer  School  in  Paris,  where 
he  also  taught  for  more  than  20 
years,  and  which  he  reentered  as 
prof,  of  org.  1902;  1863  became  orgt. 
at  ch.  of  St.  Augustin;  1885  founded 
famous  school  for  org.,  with  state 
subsidy;  very  successful  as  concert 
orgt.  throughout  Europe,  as  teacher, 
and  as  composer  chiefly  of  org. 
music,  notably  Album  gregorien. 

Gilchrist,  William  Wallace,  compr.  b. 
Jersey  City,  Jan.  8,  1846.  Pupil  of 
H.  A.  Clarke  at  University  of  Penn- 
sylvania, Philadelphia;  after  teaching 
in  Cincinnati,  choirmaster  in  Phila. 
1873-1877;  teacher  at  Phila.  Mus. 
Acad.;  at  present  (1910)  engaged  in 
private  teaching  in  Philadelphia; 
founder  and  condr.  of  Mendelssohn 
Club,  Phila.;  has  composed  widely 
notable  choral  works,  4Qth  Psalm 
which  won  Cincinnati  Festival  prize, 
Legend  of  Bended  Bow,  and  others, 
songs  of  considerable  charm,  Heart's 
Delight,  Dirge  for  Summer,  Bugle 
Song,  etc.,  orchestral  and  chamber 
music,  mostly  unpublished,  showing 
originality  and  skill  in  orchestration, 
and  much  valuable  church  music. 

Gillet  (zhil'-la),  Ernest  [Vital  Louis], 
'cellist,  b.  Batignolles,  Sept.  12, 1856. 
Pupil  at  Niedermeyer  School  and 
at  Cons.,  1st  prize  1874;  'cellist 


at  Grand  Opera  1875-82;  living  in 
London;  compr.  of  dance  music,  no- 
tably popular  Loin  du  bal. 

Oilman,  Lawrence,  music' critic,  author. 
b.  Flushing,  N.  Y.,  July  5,  1878. 
Educated  at  New  York  public  schools 
and  Classical  School,  Hartford, 
Conn.,  studied  drawing  and  portrait- 
painting;  later,  landscape-painting 
with  Wm.  M.  Chase,  and  illustration 
at  Art  Students'  League,  N.  Y.  City, 
on  staff  of  N.  Y.  Herald  1896^98; 
self-taught  in  musical  theory,  piano 
and  organ  playing,  and  composition; 
music  critic  of  Harper's  Weekly 
since  1901;  assistant  editor  of  same 
since  1903;  author  of  the  following 
books:  Phases  of  Modern  Music 
(1904);  Edward  MacDowell  (1905); 
The  Music  of  To-morrow  (1906);  A 
Guide  to  Strauss'  Salome  (1907);" 
Stories  of  Symphonic  Music  (1907); 
A  Guide  to  Debussy's  Petteas  et 
Melisande  (1907);  Aspects  of  Mod- 
ern Opera  (1908);  Edward  Mac- 
Dowell: A  Study  (1909,  a  revised 
and  enlarged  edition  of  volume  pub- 
lished in  1905),  contributor  to  maga- 
zines; member  of  the  National  Insti- 
tute of  Arts  and  Letters  in  1908;  lives 
in  New  York  City. 

Gilmore,  Patrick  Sarsfield,  condr.  b. 
near  Dublin,  Dec.  25,  1829;  d.  St. 
Louis,  Mo.,  Sept.  24,  1892.  Member 
first  of  Irish,  then  of  English  band 
with  which  he  came  to  Canada  1849; 
condr.  of  military  band  in  Salem, 
Mass.;  organizer  and  condr.  1859  of 
Gilmore's  Band  in  Boston;  band- 
master in  Federal  Army  at  New 
Orleans,  gave  grand  festival  1864; 
conducted  Nat'T  Peace  Jubilee  1869 
and  World's  Peace  Jubilee  1872, 
both  at  Boston;  in  these  festivals  the 
numbers  of  the  chorus  and  orchestra 
were  large  (in  the  last  2000  in  orch. 
and  20,000  in  chorus)  and  orch.  was 
reinforced  by  actual  cannon,  bells, 
etc.;  traveled  from  N.  Y.  with  band 
in  U.  S.,  1878  to  Europe;  arranged 
much  music,  composed  popular  songs. 

Gilson  (zhil-son),  Paul,  compr.  b. 
Brussels,  June  15,  1865.  Studied 
at  Brussels  Cons,  under  Cantillon, 
Duyck,  and  Gevaert;  1889  Prix  de 
Rome;  prof,  harmony  at  Antwerp 
Cons,  after  1902;  dir.  Brussels  Cons. 
1910;  composed  choral  works  Sinai, 


GIORDANI 


GLEASON 


Francesco  da  Rimini,  ballet  La  Cap- 
tive, operas,  works  for  orch.,  of  which 
symph.  poem  La  Mer  is  most  widely 
known  (played  in  Brussels  1892,  Lon- 
don 1896,  Boston  1893,  part  only, 
1898  whole);  smaller  orch.  works 
played  in  Chicago  and  Cincinnati; 
modern  harmonization  combined 
with  originality  and  force  of  ideas. 

Giordan!  (zhior-da-ne),  Giuseppe  [called 
Giordanello],  opera  compr.  b.  Naples, 
1744;  d.  Fermo,  Jan.  4,  1798.  Pupil 
of  the  Lore  to  Cons.;  in  London  as 
teacher  and  comp.  1772-82;  returned 
to  Italy,  devoted  himself  to  dramatic 
composition;  in  1791  became  master 
of  music  at  Fermo  Cathedral;  wrote 
about  30  operas,  chamber  music, 
piano  pieces,  songs  and  sacred  works; 
known  by  his  song  Caro  mio  ben. 

Giordano  (zhior-da'-no),  Umberto, 
compr.  b.  Foggia,  Aug.  26,  1867. 
After  much  opposition  from  artisan 
parent,  pupil  of  Serrao  at  Naples 
Cons.;  while  still  pupil,  an  opera  won 
commission  from  Sonzogno,  the  pub- 
lisher, for  Mala  Vita  (Rome  1892); 
later  opera,  Andrea  Chenier,  Milan 
1896,  N.  Y.  1896,  Berlin  1898,  Lon- 
don 1903,  greatest  success  of  younger 
Italian  school;  vulgarity  of  first 
opera  apparently  due  to  libretto,  as 
later  ones,  though  realistic  and  melo- 
dramatic, are  more  refined. 

Giorza  (zhiort'-sa),  Paolo,  compr.  b. 
Milan,  1838.  Pupil  of  his  father 
(orgt.  and  singer)  and  of  LaCroix; 
with  exception  of  one  opera,  has 
composed  much  ballet  and  dance  mu- 
sic, in  which  he  has  been  remarkably 
successful,  also  church  music;  lived  in 
the  U.  S.  for  a  number  of  years. 

Gladstone,  Francis  Edward,  orgt.  b. 
Summertown,  near  Oxford,  Mar.  2, 
1845.  Pupil  of  S.  Wesley;  many 
positions  as  orgt.  in  Anglican  and 
after  conversion  1887  at  Rom.  Cath. 
churches;  Mus.  Doc.  Cambridge 
1879;  prof,  of  counterpoint  Trinity 
College,  London,  1881;  of  harmony 
and  counterpoint  Royal  Coll.  Mus. 
1883;  composed  services,  masses, 
org.  mus.  and  Organ  Students'  Guide, 
A  Wet  Sheet  and  Flowing  Sea  for 
chorus  and  orch.,  sonatas,  etc. 

Glareanus  (gla-re-a'-nus),  Henricus, 
[pseud,  of  Heinrich  Loris],  writer,  b. 
Glarus,  Switzerland,  June,  1488;  d. 


Freiburg,  Baden,  Mar.  28,  1563. 
Studied  theology  at  Cologne,  mus. 
under  Cochlaus;  poet  laureate  under 
Maximilian  I;  friend  of  Erasmus; 
taught  and  lectured  on  history  and 
literature  in  Paris,  Basle,  and  Frei- 
burg; chief  work  Dodecachordon, 
valuable  source  for  history  of  men- 
surable music,  notation,  etc.,  named 
from  claim  for  12  modes  instead  of  8. 

Glasenapp  (glaz'-e-nap),  Carl  Friedrich, 
writer.  b.  Riga,  Oct.  3,  1847. 
Student  of  philosophy  at  Dorpat; 
headmaster  at  Riga  since  1875; 
ardent  partisan  of  Wagner,  wrote 
Wagner- Lexikon  and  Richard  Wag- 
ner's Leben  und  Werken  (5  vols.  1882- 
1904,  not  yet  completed)  of  which 
translation  and  adaptation  by  Ash- 
ton  Ellis  appeared  1900-1904. 

Glazunov  (glaz'-6-noff),  Alexander  Con- 
stantinovitch,  compr.  b.  St.  Peters- 
burg, Aug.  10,  1865.  Son  of  pub- 
lisher and  bookseller;  early  lessons 
from  Jelenovsky;  studied  at  uni- 
versity; Balakirev  advised  him  to 
study  composition  and  theory  with 
Rimsky-Korsakov;  also  befriended 
in  Russia  by  A.  Rubinstein,  and 
abroad  by  Liszt,  he  gained  for  his 
works  an  audience  at  Weimar,  at 
Paris,  at  concerts  of  Exhibition  of 
'89,  several  of  which  G.  conducted, 
and  in  England;  condr.  of  Russian 
symph.  concerts;  since  1899  prof,  of 
instrumentation  at  St.  Petersburg 
Cons.;  though  belonging  to  circle 
of  Balakirev,  he  has  never  hotly 
espoused  its  theories;  indeed,  he 
claims  to  be  a  follower  of  Brahms  in 
his  emphasis  on  pure  form  and  "  his 
later  works  seem  to  be  more  academic 
in  spite  of  fondness  for  ballet;  his 
early  symphonic  poems  are  romantic 
in  feeling;  his  music  is  remarkable 
for  mastery  of  technical  resource; 
his  form  is  lyrical  and  transparent; 
his  harmonic  treatment,  while  not 
striking,  is  effective;  his  instrumen- 
tation is  varied  and  sonorous;  his 
ideas  come  with  ease  and  are  often 
lacking  in  significance,  but  he  has 
gained  in  self-restraint."  [E.  B.  Hill.] 

Gleason,  Frederick  Grant,  compr.  b. 
Middletown,  Conn.,  Dec.  17,  1848; 
d.  Chicago,  Dec.  6,  1903.  After 
lessons  from  Dudley  Buck  in  Hart- 
ford, studied  at  Leipzig  Cons,  under 


GLIERE 

Moscheles,  Plaidy,  and  Richter,  at 
Berlin  with  Loeschhorn  and  Haupt, 
at  London  with  Beringer;  after 
several  appointments  as  orgt.,  settled 
in  Chicago  1877  as  successful  pf. 
teacher,  finally  director  Auditorium 
Cons.;  critic  for  Tribune,  wrote 
operas,  orch.  mus.  (played  at  World's 
Fair  and  by  Thomas's  Orch.),  can- 
tata Culprit  Fay,  etc.;  especially 
skilful  at  harmonic  effects. 

Gliere  (gli-ar'),  Reinhold  Moritzovitch, 
compr.  b.  Kiev,  Jan.  11,  1875. 
Pupil  of  Taneiev  and  Ivanov  at 
Moscow  Cons.  1894-1900;  com- 
posed 2  string  quartets  which  at- 
tracted attention  in  and  out  of 
Russia,  sextet,  symph.,  played  by 
Russian  Symph.  Orch.  in  N.  IT. 
1906. 

Glinka,  Michail  Ivanovitch,  compr.  b. 
Novospaskoi',  near  Smolensk,  June  1, 
1804;  d.  Berlin,  Feb.  15,  1857. 
During  early  years  on  father's  coun- 
try estate  showed  great  sensitiveness 
toward  mus.;  while  at  school  in  St. 
Petersburg  1817-22  took  pf.  lessons 
from  John  Field  and  C.  Meyer  and 
vln.  from  Bohm;  1824-28  held 
gov't  position;  composed  in  ama- 
teurish way;  1828-33  living  in  Italy 
for  health;  admired  works  of  Bellini 
and  Donizetti;  1833  went  to  Berlin 
where  Dehn  gave  him  first  real 
instruction  in  theory;  on  return  to 
Russia  1834  set  to  work  on  long- 
nourished  plan  of  writing  national 
.opera;  result  Life  for  the  Czar  per- 
formed 1836  with  great  success; 
second  opera  Russian  and  Ludmilla 
1842,  not  quite  so  successful;  1844 
in  Paris  met  Berlioz  who  admired 
his  works;  after  trip  to  Spain 
returned  to  St.  Petersburg,  where 
he  turned  attention  to  old  church 
modes;  died  when  on  visit  to  Dehn. 
Pioneer  of  modern  Russian  music 
he  established  Russian  opera  upon 
basis  of  supremacy  of  voice,  and, 
though  he  used  leit-motiven  before 
Wagner,  he  kept  them  in  voice- 
parts  only;  he  first  used  Russian 
folk-songs,  but  he  used  them  more 
as  an  imitator  than  as  a  copyist;  he 
gained  effect  of  local  color  by  using 
melancholy  progressions,  rhythms 
of  5  and  7  beats,  etc.;  his  orches- 
tration was  simple,  but  vigorous 
and  rich. 


GLUCK 

Glover,  Sarah  Ann,  writer,  b.  Nor- 
wich, Eng.,  1785;  d.  Malvern,  Oct. 
20,  1867.  Her  Manual  of  Norwich 
Sol- Fa  System  1845  contains  ac- 
counts of  sol-fa  notation,  her  inven- 
tion, which  was  afterwards  developed 
by  John  Curwen. 

Glover,  Stephen  Ralph,  compr.  b. 
London,  1812;  d.  there,  Dec.  7, 
1870.  Music  teacher;  1840-70 
composed  about  1200  works,  almost 
all  very  popular,  frivolous,  and  for- 
gotten, with  the  exception  of  one 
or  two,  such  as  "  What  Are  the  Wild 
Waves  Saying  ?  " 

Gluck  (glook),  [French,  gliik],  Christoph 
"Willibald,  Ritter  von,  compr.  b. 
Weidenwang,  near  Neumarkt,  in 
Upper  Palatinate,  July  2,  1714;  d. 
Vienna,  Nov.  15,  1787.  Father  was 
gamekeeper  on  estates  of  Prince 
Lobkowitz  at  Eisenberg,  where  G. 
was  taught  in  village  school;  at  12 
sent  to  Jesuit  School  at  Kommotau 
he  learned  vln.,  harpsichord,  org., 
and  singing;  1732  at  Prague  studied 
under  Czernohorsky,  learned  'cello, 
supporting  himself  by  singing  in 
church,  playing  vln.  at  village  dances 
and  concerts;  1736  at  Vienna  met 
Prince  Melzi,  who,  as  his  patron, 
sent  him  to  Italy,  where  he  studied 
4  years  under  Sammartini;  1741- 
45  produced  nine  operas  in  different 
Italian  cities  with  such  success  that 
in  1745  he  was  invited  to  London 
as  compr.  for  Haymarket;  the  failure 
there  of  two  operas  and  pasticcio, 
and  scorn  of  Handel  for  his  ignor- 
ance of  counterpoint  are  said  to  have 
led  G.  to  examine  his  own  faults; 
observation  of  Rameau's  operas  in 
Paris,  subsequent  study  of  esthetics 
after  visit  to  Dresden  and  Hamburg 
led  to  dissatisfaction  with  Italian 
opera;  1749-67  he  produced  in 
Vienna  many  operas,  the  only  im- 
portant one  being  Orfeo  ed  Euridice 
1762;  with  Alceste  1767,  and  Paride 
ed  Elena  1770,  he  definitely  broke 
with  old  traditions  according  to  well- 
thought-out  theories  which  he  made 
clear  in  prefaces  to  published  scores 
(1769-70);  unappreciated  at  home, 
encouraged  by  Bailly  du  Rollet  of 
French  embassy  (librettist  of  Iphi- 
genie),  went  to  Paris  to  produce 
Iphigenie  en  Aulide;  only  the  influence 
of  Marie  Antoinette,  former  pupil 


GOBBAERTS 


GOEPP 


of  G's,  seems  to  have  enabled  him 
to  withstand  violent  opposition; 
successful  performance  revolution- 
ized at  one  blow  French  opera; 
Orphee  1774,  and  Alceste  1776, 
rearrangements  of  earlier  works, 
continued  success;  Armide  1777 
showed  power  in  tender  as  well  as 
tragic  styles;  partisans  of  Piccinni 
and  old  Italian  music  attacked  G. 
by  pamphlets  and  in  other  ways 
until  the  -"  war  "  actually  divided 
French  society;  G.  continued,  with 
Iphigenie  en  Tauride  1779,  and  Echo 
et  Narcisse  1779;  forced  by  ill 
health  to  retire  to  Vienna  1780. 
Newman  says,  in  Gluck  and  the 
Opera,  that  "  his  theories  of  sub- 
ordinating music  entirely  to  poetry 
were  really  neither  new  nor  practical. 
But  to  have  insisted  on  the  necessity 
for  making  the  verbal  basis  sound 
and  sane;  to  have  repressed  the 
vanity  and  egotism  of  singers  and 
to  have  galvanized  the  orchestra  to 
life;  to  have  struck  away  all  the 
pernicious  excrescences  that  dis- 
figured the  aria  and  to  have  made 
it  a  genuine  expression  of  passion; 
to  have  made  the  overture  elu- 
cidatory of  coming  drama;  and 
given  unity  to  what  had  before  been 
a  mere  pasticcio  was  no  small 
labor." 

Gobbaerts,  Jean  Louis,  compr.  b. 
Antwerp,  Sept.  28,  1835;  d.  Saint- 
Gilles,  near  Brussels,  May  5,  1886. 
Pupil  of  Brussels  Cons.;  under 
pseudonyms  Streabbog,  Ludovic, 
and  Levi  produced  some  1200  pf. 
pieces,  some  very  popular. 

Godard  (go-dar'),  Benjamin  Louis  Paul, 
compr.  b.  Paris,  Aug.  18,  1849;  d. 
Cannes,  Jan.  10,  1895.  Vln.  pupil 
of  Hammer,  and,  at  Paris  Cons,, 
of  Reber  and  Vieuxtemps;  after 
several  successful  songs,  2  vln. 
concertos,  and  some  chamber  music, 
his  dram,  symph.  Tasso  took  prize 
offered  by  city  of  Paris  1878;  wrote 
several  descriptive  symph.,  Sym- 
phonic Ugendaire,  Symph.  orientate, 
etc.;  also  8  operas,  6  performed,  of 
which  Jocelyn  1888,  Le  Dante  1890, 
and  La  vivandiere  (after  his  death 
1895)  were  most  successful;  con- 
ducted Concerts  modernes  as  successor 
to  Concerts  populaires  1885,  but  with- 
out success. 


Goddard,  Arabella,  pst.  b.  St.  Servans, 
St.  Malo,  Jan.  12,  1836.  At  six  had 
lessons  from  Kalkbrenner  in  Paris, 
and  later  from  Mrs.  Anderson  and 
Thalberg  in  London  where  she  ap- 
peared 1850;  after  further  study 
with  J.  W.  Davison  (whom  she 
married  1859)  made  formal  d6but 
1853;  until  retirement  1880,  played 
with  success  in  London  and  in 
Germany;  made  tour  of  world 
(America,  Australia,  and  India) 
1873-76;  style  was  marked  by 
classical  reserve  and  high  regard 
for  interpretation  of  composer's 
meaning. 

Godfrey,  Daniel,  bandmaster,  b.  West- 
minster, Sept.  4,  1831;  d.  Beeston, 
near  Nottingham,  June  30,  1903. 
Father  and  two  brothers  also 
military  bandmasters,  as  are  his 
son  and  two  of  his  nephews;  pupil 
on  flute  in  Royal  Acad.  Mus.;  band- 
master Grenadier  Guards  1856-1896; 
brought  this  band  to  America  1872; 
1896  formed  own  band;  composed 
successful  military  waltzes. 

Godowsky  (go-dof'-ski),  Leopold,  pst. 
b.  Wilna,  Russia,  Feb.  13,  1870. 
Precocious  ability  as  compr.;  first 
appearance  as  pst.  1879  followed 
by  tour  in  Russia,  Poland  and  Ger- 
many; studied  at  Berlin  Hoch- 
schule  under  Bargiel  and  Rudorff; 
American  tour  with  Musin  1884; 
after  study  with  Saint-Saens,  made 
tours  in  France,  England,  again  in 
America;  married  Frieda  Saxe  1901; 
director  of  Chicago  Cons.  1895- 
1900;  reappearance  in  Berlin  placed 
him  in  front  rank  of  technical  vir- 
tuosos; 1909  head  of  Master  School 
for  Piano-playing,  Vienna  Conser- 
vatory; composed  Chopin  arrange- 
ments (studies  on  Chopin),  concert 
Etudes,  remarkable  for  brilliancy. 

Goepp  (g6p),  Philip  H.,  writer,  b. 
New  York,  June  23,  1864.  Studied 
in  Germany,  1872-77;  grad.  at 
Harvard  1884;  studied  law  at  Univ. 
of  Penna.,  Philadelphia,  member  of 
Pennsylvania  bar;  devoted  himself 
to  music  1891,  teacher,  pst.  in 
Philada.;  commentator  for  pro- 
grams of  Philadelphia  Orch.;  author 
of  Symphonies  and  Their  Meaning, 
editor  of  Annals  of  Music  in  Phila., 
contributor  to  Atlantic  Monthly. 


GOETSCHIUS 


GOMBERT 


Goetschius  (ge"t'-shi-us),  Percy,  teacher. 
b.  Paterson,  N.  J.,  Aug.  30,  1853. 
Pupil  in  Stuttgart  Cons,  of  Lebert, 
Pruckner,  Doppler,  and  Faisst; 
taught  English  classes  there,  substi- 
tuted for  Faisst,  charge  of  women's 
classes  1885;  critic  for  several  Ger- 
man papers;  1890  prof,  of  harm., 
pf.  playing,  Syracuse  Univ.;  1892 
charge  of  comp.  dept.  New  England 
Cons.;  1896-1905  private  teacher  in 
Boston,  orgt.  in  Brookline;  1905  prof, 
of  harmony  Institute  of  Musical  Art, 
N.  Y.;  books  Theory  and  Practice  of 
Tone-relations,  Homophonic  Forms 
of  Musical  Composition,  Lessons  in 
Music  Form,  and  others  of  great 
value;  comp.  chiefly  church  music. 

Goetz  (g6tz),  Hermann,  compr.  b. 
Konigsberg,  Dec.  17,  1840;  d.  Hot- 
tingen,  near  Zurich,  Dec.  3,  1876. 
After  lessons  from  Kohler,  studied 
at  Stern  Cons,  under  Stern,  Von 
Biilow,  and  Ulrich;  orgt.  at  White r- 
thur  1863-1870,  though  living  after 
1867  in  Zurich  where  he  gave  lessons; 
retired  because  of  ill  health  in  1870; 
success  of  opera  Die  Zahmung  der 
Widerspenstigen  (The  Taming  of  the 
Shrew,  based  'on  Shakespeare's  play) 
at  Mannheim  1874  first  attracted 
attention  to  grace  and  charm  of  his 
works,  chief  among  which  are  pf. 
sonata  for  4  hands,  pf.  concerto,  and 
often-played  symph.  in  F;  while  not 
strikingly  original,  his  work  is  skilful 
and  charming. 

Goldbeck  (gold'-beck),  Robert,  pst.  b. 
Potsdam,  Apr.  19,  1839;  d.  St.  Louis, 
May  16,  1908.  Studied  with  Kohler 
and  Litolff ;  brought  out  opera  Sol- 
dier's Return  London  1856;  1861  went 
to  N.  Y.;  1867  founded  a  cons,  in 
Boston,  1868  one  in  Chicago;  1871-78 
in  St.  Louis,  condr.  of  Harmonic  Soc. 
and  co-director  of  Beethoven  Cons.; 
N.  Y.  1880-85;  comp.  2  other  operas, 
pf.  concerto,  chamber  music. 

Goldmark  (gold'-mark),  Karl,  compr. 
b.  Keszthely,  Hungary,  May  18, 
1830.  Son  of  cantor  in  Jewish  syn- 
agogue; after  lessons  from  village 
schoolmaster,  studied  at  Vienna 
Cons,  under  Jansa,  Bohm,  and 
Preyer  1844-48;  concert  of  works 
Vienna  1857,  another  in  Pesth  1859, 
settled  in  Vienna  as  pf.  teacher  1860; 
overtures  Sakuntala  and  Penthesilea 
had  attracted  favorable  notice;  opera 


Die  Konigin  von  Saba  Vienna  1875, 
on  composition  of  which  he  had 
spent  10  years,  won  deserved  suc- 
cess in  Germany,  Italy,  Spain; 
produced  in  N.  Y.  1905;  other  operas 
are  Merlin  1886,  Das  Heimchen  am 
Herd  (based  on  Dickens's  Cricket  on 
the  Hearth)  1896,  Go'tz  von  Berlich- 
ingen  1902;  has  also  written  male 
choruses,  vln.  concerto,  chamber 
music,  symph.,  etc.,  all  marked  by 
skill  in  production  of  effect. 

Goldmark,  Rubin,  compr.  b.  New 
York,  1872.  Nephew  of  Karl;  pupil 
of  Livonius,  Door,  and  Fuchs,  and 
in  N.  Y.  of  Joseffy  and  Dvorak;  lives 
and  teaches  in  New  York.  Com- 
posed Theme  and  Variations  for 
orch.,  played  under  Seidl,  Hiawatha 
overture  played  by  Bost.  Symph. 
Orch.,  pf .  trio,  cantata,  etc.,  pf .  pieces. 

Goldschmidt,  Jenny  Lind,  -see  Lind, 
Jenny. 

Goldschmidt,  Otto,  pst.,  condr.  b.  Ham- 
burg, Aug.  21,  1829;  d.  London, 
Feb.  24,  1907.  Pupil  of  Schmitt  and 
Grand,  Mendelssohn  at  Leipzig 
Cons.,  and  Chopin;  placed  at  con- 
cert given  by  Jenny  Lind  London 
1849;  1851  succeeded  Benedict  as 
condr.  of  her  American  concerts; 
married  her  1852;  after  her  death 
1887  teaching  in  London;  became 
vice-principal  Royal  Acad.  of  Mus. 
1863,  founded  Bach  Choir  1875; 
conducted  several  festivals;  com- 
posed cantata,  pf.  concerto,  etc. 

Goltermann,  Georg  Eduard,  'cellist,  b. 
Hanover,  Aug.  19,  1824;  d.  Frank- 
fort, Dec.  29,  1898.  Son  of  orgt., 
pupil  of  Prell  and  Menter;  1850- 
52  concert  tours;  1852  director  at 
Wiirzburg,  1853  at  Frankfort;  now 
retired;  composed  popular  concerto 
and  other  pieces  for  'cello.  Not  to 
be  confused  with  August  Julius  G. 
(1825-1876),  prof,  of  'cello  at 
Prague  1850-62,  and  member  of 
Stuttgart  court  band  1862-1870. 

Gombert  (gon-bar),  Nicolas,  compr.  b. 
Bruges,  about  1495;  d.  after  1570. 
In  service  of  Emperor  Charles  V  as 
master  of  choristers  in  emperor's 
chapel,  and  after  1537  in  imperial 
chapel  at  Madrid;  though  young 
when  Josquin  Depre_s  died,  G.  is  con- 
sidered his  chief  pupil;  aided  in  devel- 
oping interest  in  emotional  truth  of 


GOMEZ 


GOSSEC 


music  and  in  secular  music;  his  own 
works  are  charmingly  simple  descrip- 
tive pastoral  or  hunting  scenes. 

Gomez,  Antonio  Carlos,  opera  compr. 
b.  Campiners,  Brazil,  July  11,  1839; 
d.  Para,  Sept.  16,  1896.  Pupil  of 
Rossi  at  the  Milan  Cons.,  wrote  a 
number  of  operas,  some  of  them 
quite  successful;  in  1895  appointed 
director  of  Para  Cons. 

Goodrich,  Alfred  John,  theorist,  b. 
Chilo,  O.,  May  8,  1847.  Self-taught, 
except  for  few  lessons  from  father; 
taught  at  Grand  Cons.  N.  Y.,  at 
Fort  Wayne,  Ind.,  Cons.;  and  at 
Beethoven  Cons.  St.  Louis;  then 
in  Chicago  as  writer  and  teacher; 
1905  in  New  York;  in  London,  1909- 
10,  Paris,  1910-11;  published  Ana- 
lytical Harmony,  Musical  Analysis, 
etc.,  of  great  value  and  originality. 

Goodrich,  'Wallace,  orgt.  b.  Newton, 
Mass.,  May  27,  1871.  Pf.  pupil  of 
Clouston  and  Petersilea,  org.  of 
Thayer,  Gow,  chiefly  of  Dunham; 
orgt.  in  Newton  at  15;  N.  E.  Cons., 
harmony  and  counterpoint  under 
Chadwick,  theory  under  Elson, 
under  Rheinberger  at  Munich  and 
Widor  at  Paris,  where  he  closely 
studied  church  music;  repetiteur  at 
Leipzig  theatre;  teacher  org.  and 
comp.  N.  E.  Cons,  since  1897;  orgt. 
at  Trinity  Church  from  1902-1908; 
condr.  Worcester  festivals  1902- 
1907;  organizer  and  condr.  Jordan 
Hall  Orch.  concerts  1907  and  of 
Choral  Art  Society  1901-1907;  condr. 
Cecilia  Society  1907-10;  asst.  condr. 
Boston  Opera  Co.  1909. 

Goodson,  Katharine,  pst.  b.  Watford, 
Hertfordshire,  June  18,  1872.  After 
childish  appearances,  studied  at 
Royal  Acad.  of  Mus.  under  Beringer 
and  in  Vienna  with  Leschetizky 
1892-96;  English  debut  1896,  pro- 
vincial tour  1897,  Berlin  1899,  N.  Y. 
1908;  toured  with  Kubelik  1902, 
'03,  '04;  married  Arthur  Hinton  1903. 

Gordigiani  (gor-dizh-i-a-ni),  Luigi, 
compr.  b.  Modena,  June  12,  1806; 
d.  Florence,  Apr.  30,  1860.  After 
slight  education,  composed  pf.  pieces 
under  German  pseuds.  Zeuner  and 
Von  Fiirstenberger;  aided  by  two 
Russian  princes,  composed  and  pro- 
duced several  operas;  chief  fame 
rests  on  Canti  Populari  Toscani, 


either  musical  settings  of  actual 
folk-songs  or  skilful  imitations  of 
their  spirit. 

Goria,  Alexandre  Edouard,  pst.  b. 
Paris,  Jan.  21,  1823;  d.  there,  July  6, 
1860.  Pupil  at  Paris  Cons,  of  Lau- 
rent, Zimmermann,  and  Dourlen 
1830-39;  compr.  of  popular  pf.  music, 
fantasias,  paraphrases  on  operatic 
themes,  and  some  meritorious  itudes. 

Gorno,  Albino,  pst.,  compr.  b.  Casal- 
morano,  Italy.  Studied  at  Milan 
Cons.;  accomp.  to  Patti  on  American 
tour  1881-82;  teacher  of  pf.  Cincin- 
nati Coll.  of  Mus.;  composed  can- 
tatas, concert  studies,  etc. 

Goss,  Sir  John,  compr.  b.  Fareham,  • 
Hants,  Dec.  27,  1800;  d.  Brixton, 
London,  May  10, 1880.  Son  of  orgt.; 
chorister  at  Chapel  Royal  under  J.  S. 
Smith,  pupil  of  Attwood;  orgt.  at 
several  churches,  1838  of  St.  Paul's; 
compr.  to  Chapel  Royal;  knighted 
1872;  Mus.  Doc.  Cambridge  1876; 
composed  about  27  anthems,  many 
glees,  edited  several  collections  of 
hymns,  psalms,  etc.;  wrote  Introd. 
to  Harmony,  etc.;  "  music  is  always 
melodious  and  beautifully  written 
for  the  voices,  and  is  remarkable  for 
a  union  of  solidity  and  grace,  with  a 
certain  unaffected  charm."  [Grove.] 

Gossec  (gos'-sek'),  Francois  Joseph, 
compr.  b.  Vergnies,  Belgium,  Jan. 
17,  1734  [ace.  to  record  of  birth 
referred  to  in  Hellpuin's  Gossec; 
but  Eitner  and  historical  documents 
of  Paris  Cons,  give  1733];  d.  Passy, 
Feb.  16,  1829.  Name  variously 
spelled  Gosse,  Gossez,  Gosset;  son  of 
farmer;  chorister  at  Antwerp  Cath.; 
going  to  Paris  1751  with  letters  to 
Rameau,  became  condr.  of  private 
orch.  of  La  Popeliniere;  here  he  com- 
posed first  symphonies,  performed 
1754  (Haydn's  were  not  written  until 
1755);  while  attached  to  household 
of  Prince  de  Cond£,  composed  1760 
Messe  des  morts,  famous  for  innova- 
tion of  a  concealed  orchestra  in  ad- 
dition to  one  in  church;  founded 
Concerts  des  amateurs  1770,  revived 
Concerts  spirituals  1773,  condr.  of 
Academic  1780;  inspector  of  Cons. 
1795,  and  teacher  of  comp.  there 
until  1814;  member  of  Institute  from 
foundation  1795;  composed  many 
successful  operas,  and  wrote  music 


GOTTSCHALD 


GOUVY 


for  several  occasions  under  the  Revo- 
lution; but  chief  fame  rests  on  such 
innovations  as  that  in  the  Requiem 
and  in  the  origins  of  the  symphony; 
suffers  from  having  been  the  imme- 
diate precursor  of  greater  composers 
in  every  line. 

Gottschald,  Ernst,  see  Elterlein,  E.  von. 

Gottschalk,  Louis  Moreau,  pst.  b.  New 
Orleans,  May  8,  1829;  d.  Rio  de 
Janeiro,  Dec.  18,  1869.  At  12  went 
to  Paris  where  he  studied  under 
Charles  Halle",  C.  Stamaty,  and  Mal- 
eden;  gave  successful  concerts  in 
France  and  Switzerland  1845-52; 
tour  in  U.  S.  1853,  so  successful  that 
Strakosch  engaged  him  for  tour  cov- 
ering almost  every  town  in  U.  S.  and 
Spanish  America;  death  caused  by 
over-exertion.  Brilliant  and  roman- 
tic player,  especially  admirable  in  his 
own  works,  almost  all  of  which  had 
Spanish  atmosphere;  also  composed 
2  operas  and  orch.  works. 

Gb'tze  (get-ze),  Karl,  compr.  b.  Weimar, 
1836;  d.  Magdeburg,  Jan.  14,  1887. 
Pupil  of  Topfer,  Gebhardi,  and  Liszt; 
chorusmaster  at  Weimar;  theatre 
condr.  Magdeburg,  Berlin,  etc.;  com- 
posed 4  operas,  symph.  poem. 

Goublier  (go-bli-a),  Gustave,  compr. 
b.  Paris.  Actor  at  17,  pst.  with 
Houdin;  saxophone  player  in  band 
of  artillery  school  at  Vincennes  dur- 
ing military  service;  orch.  leader  at 
Parisian  casinos,  finally  at  Eldorado 
and  Folies  Bergeres;  composed  music 
for  ballets,  "  revues,"  ope>a  balls, 
and  many  songs,  Les  yeux,  Son 
amant,  Si  vous  ne  m'aimez  plus,  and 
popular  Credo  du  paysan. 

Goudimel  (go-di-mel'),  Claude,  compr. 
b.  Vaison,  near  Avignon,  France, 
about  1505;  d.  Lyons,  Aug.  24,  1572. 
Long  supposed  to  have  been  head  of 
mus.  school  in  Rome  where  Pales- 
trina  and  others  studied,  but  latest 
evidence  (Brenet:  C.  Goudimel, 
1898)  shows  that  he  was  probably 
never  in  Rome.  Composed  masses 
and  songs  and  notably  music  for  the 
psalms  in  Huguenot  psalter;  lived 
Metz  and  Lyons,  killed  in  St.  Bar- 
tholomew massacre. 

Gounod  (go-no),  Charles  Frangois, 
compr.  b.  Paris,  June  17,  1818;  d. 
there,  Oct.  17,  1893.  Father  painter 


and  engraver,  mother  an  accom- 
plished pst.,  who  gave  him  his  first 
lessons;  studied  at  Lyc6e  St.  Louis, 
entered  Cons.  1836;  pupil  of  Paer, 
Lesueur,  and  Halevy;  1839  Grand 
prix  de  Rome;  studied  Palestrina  in 
Italy,  and  composed  mass;  after 
visiting  Austria  and  Germany  be- 
came orgt.  at  Missions  etr anger es  in 
Paris;  studied  theology  arid  thought 
of  taking  orders;  after  5  years  of 
seclusion,  performance  of  Messe 
solennelle  in  G,  in  London  1851, 
brought  him  into  prominence;  on 
commission  from  Opera,  wrote  Sapho 
1851;  his  first  operas,  though  praised 
for  musical  skill,  were  not  popular 
successes;  as  condr.  of  Orpheon,  a 
union  of  singing  societies  and  schools, 
1852-60,  he  wrote  for  them  several 
choruses  and  2  masses;  with  Faust 
1859  he  attained  European  fame  as 
compr.,  and,  after  Philemon  et 
Baucis  1860,  Mireille  1864,  etc., 
almost  touched  the  same  height 
again  in  Romeo  et  Juliette  1867;  1870- 
75,  during  the  war,  G.  lived  in  Lon- 
don, where  he  founded  Gounod's 
Choir  (afterwards  called  Albert  Hall 
Choral  Society,  later  Royal  Ch.  Soc.), 
appeared  at  Philharmonic  and  Crys- 
tal Palace  Concerts;  after  return  to 
Paris  operatic  work  was  less  and  less 
successful;  chief  works  of  this  period 
are  oratorios  intended  for  English 
audiences,  Redemption,  Birmingham 
1882,  and  Mors  et  vita  Birmingham 
1885;  the  songs,  There  is  a  green 
hitt  far  away  and  Nazareth  show 
best  of  popular  melody.  Pougin 
speaks  of  the  characteristics  of  his 
genius  as  a  musical  phrase,  new  in 
form  and  characteristic  in  outline; 
harmonies  rich,  refined,  sometimes 
unexpected;  ingenious  instrumenta- 
tion full  of  color,  grace,  and  elegance, 
and  the  full  enchanting  language  of 
passion;  emotional  and  passionate 
he  always  was,  even  in  his  religious 
music,  and  at  his  worst  this  quality 
degenerates  into  weak  sentimental- 
ity; at  his  highest,  it  is  the  garden 
scene  in  Faust. 

Gourron  (gor'-ron),  A.  R.,  see  Alvarez. 

Gouvy  (go-ve),  Louis  Theodore,  compr. 
b.  Goffontaine,  near  Saarbruck,  July 
3,  1819;  d.  Leipzig,  April  21,  1898. 
After  taking  degree  at  Metz,  be- 
came law  student  at  Paris  before  he 


GOW 


GRECHANINOV 


received  any  musical  teaching;  he 
studied  with  Elwart,  and  in  Ger- 
many and  Italy;  lived  in  Paris  after 
1846,  with  frequent  visits  to  Ger- 
many whither  he  moved  about  1894; 
composed  7  symphonies,  concert 
overture,  serenade  for  strings,  much 
chamber  and  pf.  mus.;  several  dra- 
matic cantatas  on  classical  subjects 
(Elektra,  Iphigenia,  etc.);  graceful 
and  melodious;  music  has  been  pop- 
ular in  Germany,  but  its  lack  of 
force  makes  its  duration  improbable. 

Gow,  George  Coleman,  teacher,  b.  Ayer 
Junction,  Mass.,  Nov.  27,  1860. 
Studied  music  with  Blodgett  at 
Pittsfield  and  Story  at  Worcester; 
grad.  Brown  Univ.  1884  and  Newton 
Theological  Seminary;  instructor  of 
harm,  and  pf.  at  Smith  Coll.,  and 
since  1895  prof,  of  mus.  at  Vassar 
College;  studied  in  Berlin  with  Buss- 
ler  1892-93;  has  published  songs  and 
text-book  on  harmony. 

Graben-Hoffmann  (gra-ben-hof'-man), 
Gustav,  compr.  b.  Bnin,  Posen,  Mar. 
7,  1820;  d.  Potsdam,  May  21,  1900. 
Left  profession  of  teacher  to  study 
singing  in  Berlin;  studied  also  under 
Hauptmann  in  Leipzig;  taught  sing- 
ing in  Potsdam,  etc.,  finally  in  Berlin; 
wrote  method  and  many  very  popu- 
lar songs. 

Gradener  (grad'-e-ner),  Hermann  Theo- 
dor  Otto,  teacher,  compr.  b.  Kiel, 
May  8,  1844.  Son  of  Karl  Georg 
Peter  G.  (1812-1883),  'cellist,  teacher 
of  singing  at  Vienna  and  Hamburg 
Cons.,  compr.  of  chamber  music; 
pupil  of  father  and  at  Vienna  Cons.; 
orgt.,  vlt.  in  court  orch.,  teacher  of 
harm,  at  Cons,  in  Vienna,  and  since 
1899  prof,  of  harmony  and  counter- 
point at  Vienna  Univ. ;  condr.  Singa- 
kademie;  compositions  all  instru- 
mental, show  especial  individuality 
in  chamber  mus. 

Grandval  (gran-val),  Marie  Felicie 
Clemence  de  Reiset,  Vicomtesse  de, 
compr.  b.  Saint  R6my  des  Monts, 
France,  Jan.  20,  1830;  d.  Paris,  Jan. 
15,  1907.  Began  study  at  6;  at  12 
pupil  of  Flotow  in  composition;  later, 
after  2  years'  study  with  Saint-Saens, 
she  was  able  to  compose  in  almost 
every  form,  sometimes  under  pseuds. 
Valgrand,  Blangy;  composed  several 
operas,  of  which  Mazeppa  (Bordeaux 
1892)  is  the  strongest,  masses,  and 


other  religious  music,  and  oratorio 
Ste.  Agnes;  she  is  praised  for  force, 
individuality,  and  correctness  of  style . 

Grasse,  Edwin,  vli.  b.  New  York,  Aug. 
13,  1884.  Became  blind  in  infancy; 
pupil  of  Cesar  Thomson,  in  Brussels, 
where  he  took  prize  1901;  debut  in 
Berlin  1902;  concerts  in  Vienna, 
London  and  many  German  cities 
have  won  for  him  high  praise,  es- 
pecially for  perfection  of  tone  and 
depth  of  feeling;  composed  symph. 
and  suite  for  orch.;  vln.  concerto; 
sonata,  polonaise,  and  suite  for  pf. 
and  vln.,  2  pf.  trios,  2  pf.  etudes. 
Resident  of  New  York  City. 

Graun  (groun),  Karl  Heinrich,  compr. 
b.  Wahrenbriick,  Saxony,  May  7, 
1701;  d.  Berlin,  Aug.  8,  1759.  Pupil 
at  Kreuzschule  at  Dresden,  singer  to 
town  council,  pupil  of  Petzoldt  and 
J.  C.  Schmidt;  also  composed  for 
school  choir;  1725  tenor  at  Dresden 
opera;  1726  composed  Pollidoro,  with 
great  success,  and  5  other  operas; 
under  patronage  of  Frederick  the 
Great  composed  50  Italian  cantatas; 
after  1740,  as  capellmeister  of  Italian 
opera  in  Berlin,  composed  about  28 
operas,  many  of  which  were  success- 
ful; most  enduring  work,  however,  is 
sacred,  a  Te  Deum,  and  remarkably 
strong  oratorio  Der  Tod  Jesu,  per- 
formed annually  at  Berlin. 

Gray,  Hamilton  [pseud,  of  William 
Price  Hartwell  Jones],  baritone,  compr. 
b.  Flint,  Eng.,  Oct.  17,  1871. 

Greatorex,  Thomas,  orgt.  b.  North 
Wingfield,  Derbyshire,  Eng.,  Oct.  5, 
1758;  d.  Hampton,  near  London, 
July  18,  1831.  Pupil  of  B.  Cooke 
and  prote'ge'  of  Earl  of  Sandwich; 
orgt.  at  Carlisle;  follower  of  young 
Pretender  in  Italy;  teacher  of  music 
in  London;  1793  condr.  of  Concert 
of  Antient  Mus.;  with  others  revived 
vocal  concerts;  1819  orgt.  at  West- 
minster Abbey;  condr.  of  several  fes- 
tivals; composed  and  arranged  much 
music  for  various  concerts,  arranged 
Parochial  Psalmody,  composed  glees. 

Grechaninov  (gret-cha-ne'-noff),  Alex- 
ander Tichonovitch,  compr.  b.  Mos- 
cow, Oct.  25,  1864.  Studied  at  Mos- 
cow Cons,  until  in  1890  he  entered 
St.  Petersburg  Cons.;  pupil  of  Rim- 
sky -Korsakov;  composed  quartet,  pf. 
pieces  and  "  some  songs  with  very 


GRECO 

expressive  melodies,  and  happy  a 
cappella  choruses.  He  has  some 
affinities  with  Schubert."  [Pougin.] 

Greco    (gra'-co),  [or  Greece],  Gaetano, 

teacher,  compr.  b.  Naples,  about 
1680;  d.  (unknown).  Pupil  and  suc- 
cessor of  A.  Scarlatti  at  Cons,  dei 
Poveri;  teacher  also  at  Cons,  of  San 
Onofrio;  Pergolesi,  Vinci,  and  Du- 
rante  his  pupils;  only  few  composi- 
tions for  harpsichord  are  known. 

Greene,  Edwin,  compr.  b.  Gloucester, 
England,  Dec.  8,  1856.  Entirely 
self-taught  in  mus.;  orgt.  at  14  and 
held  various  appointments  until  40, 
when  he  became  invalid;  compr.  of 
songs  which,  he  says,  "  do  not  aim 
at  the  classical  but  are  written  sim- 
ply and  solely  for  the  people";  also 
writes  verses,  some  of  which  he  has 
set  to  music. 

Greene,  Harry  Plunket,  bass.  b.  Old 
Connaught  House,  Co.  Wicklow, 
Ireland,  June  24,  1865.  Studied  at 
Stuttgart  under  Hromada  and  Goet- 
schius,  at  Florence  under  Vannuccini, 
and  at  London  under  Welsh  and 
Blume;  d6but  London  1888;  since 
then  has  been  very  popular  at  Lon- 
don concerts  and  recitals,  as  intelli- 
gent interpreter  of  songs  and  oratorio 
parts;  visited  America  1893  and  later 
seasons  with  success. 

Greene,  Maurice,  compr.  b.  London, 
1695  [1696?];  d.  there,  Dec.  1,  1755. 
Chorister  under  C.  King;  org.  pupil 
of  R.  Brind;  orgt.  at  St.  Dunstan's, 
St.  Andrew's,  St.  Paul's  1718,  Chapel 
Royal  1727;  friendship  with  Handel 
broken  off  by  discovery  of  similar 
friendship  with  Bononcini;  prof,  of 
music,  Cambridge  Univ.  1730;  1743 
published  Forty  Select  Anthems 
which  give  him  high  rank  among 
English  church  composers. 

Gregh  (greg'),  Louis,  compr.,  publisher. 
Composed  and  produced  several 
successful  vaudeville  operettas,  Un 
lycee  de  jeunes  filles,  Patard,  Patard 
et  cie,  and  a  number  of  songs.  Lives 
in  Paris. 

Gregoir  (greg-6-ar),  Edouard  Georges 
Jacques,  compr.,  writer,  b.  Turnhout, 
near  Antwerp,  Nov.  7,  1822;  d. 
Wyneghem,  June  28,  1890.  Studied 
with  his  brother  Jacques  Mathieu 
Joseph  G.,  pst.  (1817-1876);  at 


GRETRY 

Biberich  under  Rummel;  gave  suc- 
cessful concerts,  toured  with  sisters 
Milanollo  1842;  1851  settled  in 
Antwerp  where  he  composed  several 
operas  and  oratorios,  choruses,  music 
for  pf.  and  harmonium;  wrote  many 
articles  and  books,  chiefly  researches 
into  history  of  music  in  Netherlands. 

Gregorov'itch,  Charles,  vlt.  b.  St. 
Petersburg,  Oct.  25,  1867.  Studied 
with  Besekirskij,  Wieniawski,  and 
Joachim;  d6but  at  Berlin  1886; 
concertmaster  at  Helsingfors;  has 

Elayed  successfully  in  Europe,  Eng- 
md,  and  on  two  trips  to  America. 

Gregory  I,  Pope.  b.  Rome,  540;  d. 
there,  604.  Pope  in  590.  There  has 
been  much  discussion  whether  G. 
personally  supervised  collection  of 
church  music  known  as  Gregorian 
or  whether  it  takes  its  name  from 
the  time  merely;  general  verdict 
seems  to  be  that  he  had  a  large 
personal  share;  collection  includes 
music  for  the  mass  and  other  services 
of  the  Church;  important  not  only 
because  of  wonderful,  austere  beauty 
of  music  itself  but  also  because, 
together  with  the  Ambrosian  collec- 
tion and  a  Spanish  collection,  this 
church  music  represents  theory  of 
music  current  in  early  Middle  Ages. 

Grell,  Eduard  August,  compr.  b.  Ber- 
lin, Nov.  6,  1800;  d.  Steglitz,  near 
Berlin,  Aug.  10,  1886.  Pupil  of 
father,  an  orgt.,  of  Kaufmann  and 
Zelter;  orgt.  Nikolaikirche  1817,  at 
cathedral  1839,  choirmaster  there 
1843-45;  vice-director  at  Sing- 
akademie  1832,  teacher  of  comp. 
1851,  director  1853-1876;  1838 
royal  mus.  director,  1858  professor. 
Learned  musician  and  excellent 
teacher  who  held  that  vocal  music 
was  only  music  of  importance; 
composed  mass  in  16  parts,  choral 
works;  wrote  Aufsatze und  GiUachten. 

Gretchaninov,  see  Grechaninov. 

Gretry  (gra-tri),  Andre  Ernest  Modeste, 
compr.  b.  Lie'ge,  Feb.  18,  1741  [ace. 
to  Gre'try  himself,  Brenet's  Life,  and 
Conservatory  documents;  but  Rie- 
mann,  Pougin,  etc.,  give  Feb.  8]; 
d.  Montmorency,  near  Paris,  Sept. 
24,  1813.  Father  vlt.;  chorister  at 
6  in  St.  Denis  Collegiate  ch.  whence 
his  severe  masters  dismissed  him 
at  11;  taught  by  Leclerc,  Renekin, 


GRIEG 

and  Moreau;  inspired  by  perform- 
ances of  Italian  opera  co.,  he  com- 
posed 6  symphonies  and  mass;  by 
aid  of  Canon  du  Harlez  studied  in 
Rome,  but  was  always  impatient 
of  instruction  in  counterpoint;  after 
9  years  in  Rome,  and  one  in  Geneva, 
arrived  in  Paris  where  after  two 
years  more  he  obtained  libretto  for 
Le  huron  which  won  instant  suc- 
cess 1768;  Luctte  1769  (which  con- 
tains song  Oil  peut-on  etre  mieux 
qu'au  sein  de  sa  famille,  which  has 
been  called  French  Home,  Sweet 
Home)  repeated  success;  and  about 
50  other  operas  followed;  he  was 
honored  by  his  contemporaries, 
admitted  to  the  Institute  1795; 
appointed  inspector  at  Cons.,  but 
resigned  within  year;  pensioned  by 
Napoleon,  retired  to  the  "  Hermit- 
age "  where  Rousseau  had  lived; 
he  wrote  his  own  Memoires  very 
entertainingly;  the  real  founder  of 
French  school  of  comic  opera  in  his 
real  appreciation  of  the  importance 
of  the  text  and  his  almost  too  great 
insistence  on  clear  declamation. 
(See  especially  M.  Brenet:  Gretry.) 

Grieg  (greg),  Edvard  Hagerup,  compr. 
b.  Bergen,  June  15,  1843;  d.  Bergen, 
Sept.  4,  1907.  After  first  lessons 
on  pf.  from  his  mother,  he  began  to 
compose  at  age  of  9;  on  advice  of 
Ole  Bull  sent  to  Leipzig  Cons., 
where  he  studied  composition  with 
Hauptmann,  Richter,  and  Reinecke, 
pf.  with  Wenzel  and  Moscheles; 
after  further  study  with  Gade  at 
Copenhagen  and  influence  of  Hart- 
mann  there,  he  at  last  broke  away 
from  German  traditions;  his  Scan- 
dinavian feeling  was  stimulated  by 
friendship  with  compr.  Richard 
Nordraak;  after  N's  death  1866, 
G.  founded  and  conducted  mus. 
union  in  Christiania;  1865  and  1870 
he  visited  Italy  and  saw  much  of 
Liszt  at  Rome;  1879  played  pf. 
concerto  at  Leipzig;  except  for 
occasional  trips  to  Germany,  and 
visits  to  England  in  1888,  ^89,  '94 
(when  he  received  degree  of  Mus. 
Doc.  at  Cambridge),  and  1896,  he 
lived  quietly  at  Bergen.  His  works 
are  not  very  numerous,  about  100 
songs,  some  20  groups  of  pf.  pieces, 
the  two  suites  based  on  Peer  Gynt, 
Aus  Holbergs  Zeit  (suite),  two 


GROVE 

Nordische  Weisen  for  string  orch., 
Sigurd  Jorsalfar,  sonatas  for  pf. 
and  vln.  and  for  pf.  and  'cello,  and 
the  pf.  concerto  are  the  most  promi- 
nent. "  His  music  is  lyrical,  inti- 
mate, exotic,  suggestive,  of  striking 
finesse;  there  are  phrases  polished 
like  gems,  melodies  of  perfect  pro- 
portion, cadences  consummate  as 
novel.  Its  defects  are  shortness  of 
musical  phrase  and  too  frequent 
repetition;  he  was  satisfied  with  the 
dialect  of  folk  music  which  fitted 
his  personal  expression."  [D.  G. 
Mason.]  But  that  he  gave  adequate 
expression  to  his  personal  feeling 
and  to  his  national  emotion,  that  he 
contributed  the  "  essential  quality 
pf  naive  and  spontaneous  romance," 
is  surely  enough. 

Grisi  (gre'-ze),  Giulia,  dram.  sop.  b. 
Milan,  July  28,  1811;  d.  Berlin, 
Nov.  29,  1869.  Taught  by  sister 
Giuditta,  mezzo  sop.  (1805-1840),  by 
Celli,  and  Guglielmi;  first  appear- 
ance at  17;  admired  by  both  Rossini 
and  Bellini;  ran  away  from  engage- 
ment at  Milan;  d6but  1832  at 
Italian  Opera,  Paris,  where  she  sang 
until  1849;  first  London  appearance 
1834;  sang  in  London  for  many 
seasons,  with  Rubini,  Lablache,  and 
later  with  Mario  who  became  her 
second  husband;  visited  U.  S.  1854; 
did  not  sing  at  all  1861-66,  and 
thereafter  chiefly  in  concerts. 

Grodzki,  Boleslaus,  compr.  b.  St. 
Petersburg,  Oct.  13,  1865.  Studied 
law,  held  public  office,  but  resigned 
to  devote  himself  to  musical  journal- 
ism and  composition  of  songs, 
choruses,  and  pieces  for  pf.  and  vln. 
and  'cello;  grouped  by  Pougin  with 
those  whose  own  originality  is  not 
strong  enough  to  break  with 
"  Russian  School." 

Grb'ndahl,  Agathe,  see  Backer-Gron- 
dahl,  A. 

Grove,  Sir  George,  writer,  b.  Clapham, 
Surrey,  Aug.  13,  1820;  d.  Sydenham, 
London,  May  28,  1900.  Civil  engi- 
neer by  profession,  shared  in  light- 
house construction  in  Jamaica, 
Bermuda,  and  Chester;  Secretary 
of  Soc.  of  Arts  1850;  as  contributor 
to  Smith's  Diet,  of  the  Bible  made 
two  trips  to  Holy  Land;  active 
interest  in  Crystal  Palace  Concerts, 


GRUENBERG 


GUIDO  D'  AREZZO 


contributed  analytical  notes  to  pro- 
grams for  about  40  years;  1868 
editor  of  Macmillan's  Magazine; 
1873  began  to  edit  Diet,  of  Music 
and  Musicians;  1878  visited  Amer- 
ica with  Stanley;  1882  organized 
and  directed  Royal  Coll.  of  Mus.; 
though  untrained  in  musical  prac- 
tice or  theory,  he  became,  by  sheer 
dint  of  listening,  an  intelligent  and 
sympathetic  critic;  his  most  original 
musical  writing  is  contained  in  the 
article  in  his  Diet.,  on  Schubert,  whose 
works  he  rearranged  by  a  theory  of 
his  own. 

Gruenberg  (griin-barg),  Eugene,  vlt. 
b.  Lemberg,  Galicia,  Oct.  30,  1854. 
Studied  at  Vienna  Cons,  with 
Heissler  (vln.),  Bruckner,  Dessoff, 
and  Hellmesberger;  member  of 
Leipzig  Gewandhaus  Orch.,  of  Bos- 
ton Symph.  Orch.  1891-1898,  teacher 
of  vln.,  viola,  and  ensemble 
at  N.  E.  Cons.;  composed  symph., 
suite,  dances,  and  songs;  written 
manual  and  theory  of  violin  playing. 

Gruenfeld,  Alfred,  pst.  b.  Prague, 
July  4,  1852.  Pupil  of  Hoger, 
Krejci,  and  at  Kullak's  Acad.  in 
Berlin;  living  in  Vienna  as  court 
pianist  and  imperial  chamber  vir- 
tuoso; makes  frequent  successful 
tours  throughout  Europe.  His 
brother,  Hermann,  'cellist,  b.  Prague, 
Apr.  21,  1855.  Studied  at  Prague 
and  Vienna  Cons.;  teacher  at 
Kullak's  Acad.  Berlin. 

Griitzmacher  (griitz'-mak-er),  Friedrich 
Wilhelm  Ludwig,  'cellist,  b.  Dessau, 
Mar.  1,  1832;  d.  Dresden,  Feb.  22, 
1903.  Pupil  of  father,  Drechsler, 
and  Schneider;  1848  in  orch.  in 
Leipzig  attracted  notice  of  David; 
1849  first  'cellist  at  Gewandhaus 
Orch.;  teacher  at  Leipzig  Cons.; 
chamber  virtuoso  at  Dresden  1860, 
instructor  at  Cons.  1877;  of  wide 
influence  as  teacher  (of  Hegar, 
Becker,  etc.),  editor  and  reviver  of 
classic  works,  author  of  valuable 
studies;  composer  for  his  instrument. 

Guadagnini  (gwa-dan-ye'-ni) ,  Lorenzo, 
vln.-maker.  b.  Piacenza  (?),  about 
1695  (?);  d.  Milan,  after  1760. 
One  of  prominent  family  of  makers 
extending  from  18th  century  to 
present;  pupil  of  Stradivari,  with 
whom  he  worked  at  Cremona; 


successfully  followed  his  master; 
his  instruments  are  bold  in  design, 
model  inclined  to  flatness,  with 
scroll  of  considerable  originality, 
powerful,  rich  tone.  Son  Giovanni 
Battista  (1711-1786)  made  vlns. 
more  closely  imitated  from  Stradi- 
vari than  his  father's;  his  woods 
are  remarkable,  but  his  varnish  is 
not  so  mellow  as  Lorenzo's. 

Guarnerius  (gwar-na'-rius),  family  of 
vln.-makers  at  Cremona.  Andrea, 
b.  1626;  d.  Dec.  7,  1698.  Pupil  of 
N.  Amati.  Violins  at  first  like 
A's,  later  flatter  with  some  changes 
in  sound  holes;  his  son  Giuseppe 
(1680-1730)  altered  shape  still  fur- 
ther; greatest  of  them  was  Giuseppe 
Antonio,  nephew  of  Andrea,  called 
G.  del  Gesu  because  of  mark  I.  H.  S. 
on  instruments,  b.  June  8,  1683; 
d.  about  1742.  Pupil,  probably,  of 
cousin  Giuseppe,  follower  of  Gasparo 
da  Said;  works  of  three  periods: 
1st  variable,  experimental;  2d  beau- 
tiful instruments,  with  remarkable 
amber  varnish;  3d,  bolder  and  heav- 
ier model. 

Guglielmi  (gool-yel'-mi),  Pietro,  compr. 
b.  Massa  di  Carrara,  May,  1727;  d. 
Rome,  Nov.  19,  1804.  Taught  by 
father  (maestro  di  cappella  to  Duke 
of  Modena),  by  Durante  in  Cons, 
di  San  Lorenzo;  first  opera,  Turin 
1755,  followed  by  many  successes; 
after  period  in  Dresden  and  London 
on  the  return  to  Naples  in  1777, 
reconquered  popularity  which  had 
been  lost  to  Paisiello  and  Cimarosa; 
maestro  at  Vatican  1793;  most 
famous  operas  La  betta  pescatrice, 
La  serva  innamorata,  oratorio  Deb- 
bora  e  Sisera  show  fertility  of 
invention;  son  Pietro  Carlo  (1763- 
1827)  also  composed  operas. 

Guido  d'  Arezzo  (gue-do  da-ret'-zo), 
tlieorist.  b.  Arezzo,  about  995;  d. 
Avellano  (?),  May  17  (?),  1050  (?). 
Monk  in  Benedictine  monastery 
near  Ferrara;  invented  new  system- 
of  teaching  music  which,  some  say, 
caused  him  to  be  driven  from 
monastery;  summoned  to  Rome  and 
commended  by  Pope  John  XIX 
(possibly  previously  by  Pope  Bene- 
dict VIII);  became  abbot  at  mon- 
astery of  Sante  Croce,  where  he 
died;  his  inventions  have  been  ques- 
tioned, but  he  seems  clearly  to  have 


GUILMANT 


GYROWETZ 


introduced  staff  of  four  lines,  one 
between  and  one  above  two  lines 
previously  used;  also  apparently 
reconstructed  scale  on  principle  of 
hexachords  and  diagram  to  explain 
them  by  joints  of  left  hand,  known 
as  Guidonian  hand;  thirdly,  in- 
vented solmisation,  use  for  notes 
of  scale  of  syllables  do  re  mi,  etc., 
taken  from  Latin  hymn. 

Guilmant  (gil'-mon),  Alexandra  Felix, 
orgt.  b.  Boulogne,  Mar.  12,  1837. 
Pupil  of  father  Jean  Baptiste  G. 
(1793-1890),  and  of  Lemmens,  in 
harmony  of  Carulli;  orgt.  at  16; 
teacher  in  Boulogne  Cons,  at  20; 
1871  orgt.  of  La  TrinitS,  Paris;  1896 
prof,  at  Cons.;  visited  United  States 
in  1893,  1897  and  1904;  founded 
organ  concerts  at  Trocadero  and 
Schola  Cantorum  in  Paris;  has 
published  org.  symphonies,  sonatas, 
etc.,  masses,  motets,  several  collec- 
tions L'organiste  pratique,  etc.;  one 
of  most  prominent  orgts.,  he  has  had 
great  influence  everywhere  by  the 
virtuosity  of  his  own  playing  and 
through  his  many  pupils. 

Guiraud  (ge-ro'),  Ernest,  compr.  b. 
New  Orleans,  June  23,  1837;  d. 
Paris,  May  6,  1892.  Pupil  of  father, 
Jean  Baptiste  G.  (1803-  about  1864), 
also  winner  of  Prix  de  Rome;  pro- 
duced opera  at  New  Orleans  at  15; 
studied  at  Paris  Cons,  under  Mar- 
montel  and  Halevy;  Grand  prix  de 
Rome  1859;  played  at  Concerts 
populaires;  1876  prof,  of  harm,  and 
accompaniment  at  Cons.;  composed 
opera  Sylvie  and  several  other 
ballets  and  operas,  none  of  which 
was  very  successful. 

Gulbranson,  Ellen  (nee  Norgren); 
dram.  sop.  b.  Stockholm,  March  3, 
1863.  Pupil  at  Stockholm  Cons., 
and  in  Paris  of  Marchesi  and  Elena 
Kenneth;  d6but  Stockholm,  concert 
1886,  opera  1889;  married  G.;  be- 
came known  in  Germany  about  1892; 
played  Brunnhilde  at  Bayreuth  1896. 

Gumbert  (goom-bert),  Ferdinand, 
compr.  b.  Berlin,  Apr.  22,  1818;  d. 
there,  Apr.  6,  1896.  Pupil  of  Fischer 
and  Clapius;  d6but  as  tenor  at  Son- 
dershausen;  sang  1840-42  as  bari- 
tone at  Cologne;  studied  comp.  with 
C.  Kreutzer;  settled  in  Berlin  as 
teacher  and  compr.;  wrote  several 


operettas  and  numerous  songs  (Bis 
der  Rechte  kommt,  Thou  art  my 
Dream,  etc.). 

Gungl  (goong'l),  Joseph,  compr.  b. 
Zsambek,  Hungary,  Dec.  1,  1810;  d. 
Weimar,  Jan.  31,  1889.  Oboe  player 
and  bandmaster  in  Austrian  artil- 
lery; 1843  orch.  of  his  own  in  Berlin, 
which  he  brought  to  America  in  1849; 
Royal  Mus.  Director  1850;  infantry 
bandmaster  1858;  lived  in  Munich 
1864-76,  then  in  Frankfort;  dance 
music  extraordinarily  popular. 

Gura  (goo'-ra),  Eugen,  dram,  baritone, 
b.  Pressern,  Bohemia,  Nov.  8,  1842; 
d.  Aug.  26,  1906.  After  lessons  at 
Polytechnic  and  Akademie  at  Vienna 
and  in  Munich  Cons.,  debut  in  1865 
at  Munich;  sang  at  Breslau,  Leipzig 
(where  he  was  extremely  popular), 
Hamburg  and  Munich;  sang  in  first 
complete  production  of  Ring  der 
Nibelungen,  Bayreuth  1876;  retired 
from  stage  1895. 

Gurlitt,  Cornelius,  compr.  b.  Altona, 
near  Hamburg,  Feb.  10,  1820;  d. 
there,  June  17,  1901.  Pupil  of  Rein- 
ecke  (father  of  C.  Reinecke)  and 
Weyse;  orgt.  at  Altona;  prof,  in 
Hamburg  Cons.;  royal  mus.  director 
1874;  composed  3  operas  and  cham- 
ber music,  but  is  chiefly  known  as 
writer  of  instructive  pf.  pieces, 
wherein  his  "  gift  of  pure  melody, 
knowledge  of  steps  of  pedagogics, 
easy  and  refined  form  of  expression 
and  acquaintance  with  power  of  the 
forming  hand  "  made  him  remark- 
ably successful. 

Gye,  Mrs.  E.,  see  Albani,  Emma. 

Gyrowetz  (zhi-ro-vets),  Adalbert,  compr. 
b.  Budweis,  Bohemia,  Feb.  19,  1763; 
d.  Vienna,  Mar.  19,  1850.  Early 
lessons  from  father,  choirmaster; 
studied  law  at  Prague;  as  private 
secretary  to  Count  von  Funfkircher, 
compositions  were  performed;  won 
favor  from  Mozart  m  Vienna;  after 
2  years'  study  in  Naples  with  Sala, 
went  to  Paris  and  claimed  author- 
ship of  some  symphonies  credited  to 
Haydn;  produced  opera,  gave  con- 
certs, met  Haydn  in  London;  capell- 
meister  Vienna  court  opera  1804-31; 
friends  gave  benefit  concert  to  re- 
lieve poverty  1843;  composed  30 
operas,  19  masses,  over  60  sympho- 
nies, and  other  works  now  obsolete. 


HABENECK 


HAHN 


H 


Habeneck  (a'-be-nek),  Francois  An- 
toine,  condr.  b.  Mezieres,  Ardennes, 
Jan.  22  [ace.  to  documents  of 
Paris  Cons.  Jan.  23  and  June  1  are 
also  given],  1781;  d.  Paris,  Feb.  8, 
1849.  Father,  member  of  army  band, 
gave  him  vln.  lessons;  early  composi- 
tions without  instruction;  pupil  of 
Baillot  at  Paris  Cons.;  member  of 
orch.  at  Opera  Comique  and  Ope>a; 
leader  at  latter;  founder  and  condr. 
1828-48  Socie'te'  des  concerts  du 
Cons.;  director  and  condr.  at  Op6ra; 
prof,  of  vln.  at  Cons.;  among  pupils 
Alard  and  Leonard;  great  influence 
in  introducing  Beethoven's  music  in 
Paris. 

Haberbier  (ha-ber-ber),  Ernst,  pst.  b. 
Konigsberg,  Oct.  5,  1813;  d.  Ber- 
gen, Mar.  12,  1869.  Pupil  of  father, 
orgt.;  1832  became  teacher  at  St. 
Petersburg,  court  pst.  there  1847; 
gave  concerts  in  London  1850;  brill- 
iant success  in  Paris  1852,  and 
thereafter  alternately  between  St. 
Petersburg  and  Moscow;  taught  in 
Bergen  after  1866;  died  while  play- 
ing at  concert;  system  of  pf.  playing 
based  on  division  of  difficult  passages 
between  two  hands;  his  Etudes  poe- 
sies  are  highly  esteemed. 

Haberl  (ha'-berl),  Franz  Xaver,  theor- 
ist, b.  Oberellenbach,  Bavaria,  Apr. 
12,  1840;  d.  Regensberg,  Sept.  7, 
1910.  Studied  in  seminary  at  Pas- 
sau;  took  priest's  orders  1862; 
mus.  dir.  at  seminary;  orgt.  at  Rome 
and  1871-82  at  Ratisbon,  where  he 
founded  famous  school  of  ch.mus.; 
edited  Musica  Sacra,  works  of  Pales- 
trina  (Breitkopf  and  Hartel  Edition) ; 
other  collections;  one  of  greatest 
authorities  on  church  mus.  and  its 
history. 

Hadden,  James  Cuthbert,  orgt.,  writer. 
b.  Banchory-Ternan,  near  Aberdeen, 
Sept.  9,  1861.  Studied  under  private 
teacher;  after  1882  orgt.  in  several 
places,  1889  in  Edinburgh,  where  he 
still  lives;  frequent  contributor  to 
periodicals,  author  of  lives  of  Handel, 
Haydn,  Mendelssohn,  and  Chopin, 
editor  of  Scottish  Musical  Review. 


Hadley,  Henry  Kimball,  compr.  b. 
Somerville,  Mass.,  Dec.  20,  1871. 
Pupil  of  father;  studied  vln.  in  Bos- 
ton with  H.  Heindl  and  C.  N.  Allen; 
harmony  with  Emery,  counterpoint 
with  Chad  wick;  1894-95  studied 
comp.  in  Vienna  with  Mandyczewski; 
1896-1904  dir.  music  dept.  St.  Paul  's 
School,  -Garden  City,  L.  I.,  and  orgt. 
in  New  York;  Dec.  1897  1st  sym- 
phony Youth  and  Life  produced  in 
New  York  under  Seidl;  1899  prize 
cantata  In  Music's  Praise;  1901  2d 
symphony  The  Four  Seasons  won 
Paderewski  Prize  for  American  com- 
position and  N.  E.  Cons.  Prize;  1906 
3d  symphony;  also  composed  3  comic 
operas,  3  serious  overtures;  3  ballet 
suites,  6  ballades  for  chorus  and 
orch.,  string  quartet,  string  trio, 
sonata  for  vln.  and  pf.,  quintet  for 
strings  and  pf.,  Symphonic  Fantasia, 
tone  poem  Salome,  lyric  drama  Mer- 
lin and  Vivien,  opera  Safie  produced 
at  Mayence  1909,  The  Culprit  Fay, 
rhapsody  for  orch.,  won  prize  in  1909 
of  Nat.  Fed.  of  Music  Clubs;  many 
anthems,  part-songs,  pf.  pieces  and 
over  a  hundred  songs;  1905-09  in 
Europe;  1908  condr.  at  Mayence 
Opera;  1909  condr.  Seattle  Symph. 
Orch.  His  music  is  praised  for  skilful 
construction,  vitality  and  freedom 
from  morbidness. 

Hadow,  William  Henry,  writer,  b. 
Ebrington,  Gloucestershire,  Dec.  27, 
1859.  Educated  at  Oxford;  studied 
mus.  at  Darmstadt  and  under  C.  H. 
Lloyd;  fellow,  tutor,  lecturer  on  mus., 
examiner  in  Litterae  Humaniores  at 
Oxford;  has  composed  charming 
songs,  etc.,  but  is  chiefly  noted  for 
Studies  in  Modern  Music,  Primer  of 
Sonata  Form,  A  Croatian  Composer 
(sketch  of  Haydn),  and  other  writ- 
ings in  which  he  treats  the  subjects 
with  literary  skill  and  broad  cul- 
ture; editor  Oxford  History  of  Music 
and  author  of  volume  on  Viennese 
period. 


(han'),  Jacob  H.,  pst.,  teacher,  b. 
Philadelphia,  Dec.  1,  1847;  d.  1902? 
Early  interest  iii  mus.;  orgt.  in  Chi- 
cago while  pupil  of  Ziegfeld,  Mason, 


HAHN 


HALL£ 


etc.;  manager  of  several  traveling 
concert  companies;  dir.  Female  Sem. 
at  Coldwater,  Mich.  1866-69,  and 
(after  study  with  Richter  and  Plaidy 
in  Leipzig)  dir.  of  mus.  at  Mich. 
Female  Seminary  at  Detroit  1872- 
74;  founder  and  dir.  of  Detroit  Cons. 
1874;  successful  teacher;  composed 
some  pf.  pieces,  songs,  etc. 

Hahn  (an'),  Reynaldo,  compr.  b.  Ca- 
racas, Venezuela,  Aug.  9,  1875  [or 
1874].  Pupil  at  Paris  Cons,  of  Dubois, 
Lavignac,  and  Massenet;  1st  opera 
given  at  Ope'ra  Comique  1898;  pub- 
lished charming  songs  (Chansons 
grises,  Chansons  espagnoles,  etc.); 
opera  La  Carmdite  1902;  incidental 
mus.  for  Esther. 

Hale,  Philip,  critic,  b.  Norwich,  Vt., 
Mar.  5,  1854.  After  early  music  les- 
sons, orgt.  in  Northampton,  Mass.; 
graduated  Yale  1876;  member  of 
Albany  bar  1880;  lessons  from  D. 
Buck  1876;  in  Europe  1882-87  with 
Haupt,  Faisst,  Rheinberger,  and 
Guilmant;  orgt.  Albany,  Troy,  Rox- 
bury,  Mass.  1889-1905;  critic  on  sev- 
eral Boston  papers,  notably  Journal 
1891-1903,  Herald  after  1903;  writer 
of  notes  Bost.  Symph.  Orch..  pro- 
grams since  1902;  Boston  corre- 
spondent Musical  Courier  1892-98; 
editor  Musical  Record,  New  Music 
Review,  etc. 

Halevy  (al-a-vi),  Jacques  Frangois 
Fromental  Elie,  compr.  b.  Paris, 
May  27, 1799;  d.  Nice,  Mar.  17, 1862. 
Parents  Jews,  real  name  Levi ;  entered 
Paris  Cons,  at  10,  pupil  of  Lambert, 
Berton,  and  Cherubini;  Prix  de  Rome 
1819;  1827  produced  one-act  opera 
and  became  prof,  of  harm,  and 
accomp.,  counterpoint  and  fugue 
1833,  composition  1840  at  Cons.; 
among  pupils  were  Gounod,  Masse", 
Bizet,  etc.;  in  1829  Clari  and  Le 
dilettante  d' Avignon  were  successful; 
chef  de  chant  at  Ope'ra  1830-46;  com- 
pletion of  Harold's  Ludovic  1832, 
production  of  La  Juive  and  L' Eclair 
1835  brought  him  to  height  of  fame; 
member  of  Institute  1836;  he  con- 
tinued to  produce  operas  with  some 
success  even  after  Meyerbeer's  Hu- 
guenots (1836)  had  turned  the  fashion; 
his  operas  contain  many  tender 
melodies  and  show  great  dramatic 
power,  chiefly  in  differentiation  of 


character,  but  many  passages  are 
vague,  obscure,  or  monotonous;  his 
instrumentation,  though  interesting 
to  musicians,  is  often  too  refined 
or  strained  for  popularity;  published 
pleasant  essays,  Souvenirs  et  por- 
traits, and  Derniers  souvenirs. 

Halir  (ha-leV),  Carl,  vlt.  b.  Hohenelbe, 
Bohemia,  Feb.  1,  1859;  d.  Berlin, 
Dec.  21,  1909.  After  lessons  from 
father,  studied  under  Bennewitz  at 
Prague  Cons.,  then  under  Joachim 
at  Berlin;  violin  in  Bilse's  orch., 
concertmaster  at  Konigsberg,  Mann- 
heim, Weimar  1884—94;  leader  at 
Berlin  Court  Opera  1894-1904; 
teacher  at  Hochschule  after  1894; 
successful  trip  to  U.  S.  1896-97;  1897 
joined  Joachim  Quartet;  married 
Therese  Zerbst,  singer;  esteemed  all 
over  Europe  as  soloist  and  quartet 
player  of  distinction. 

Hall,  Charles  King,  compr.,  writer,  b. 
London,  1845;  d.  there,  Sept.  1, 1895. 
Orgt.  at  several  London  churches; 
author  of  School  for  the  Harmonium 
and  No vello's  Harmonium  Primer; 
composed  church  mus.  and  popular 
operettas  A  Christmas  Stocking,  The 
Naturalist,  etc. 

Halle,  Adam  de  la,  see  Adam  de  la  Halle. 

Halle  (hal'-la),  Sir  Charles  [real  name 
Carl  Halle],  pst.,  condr.  b.  Hagen, 
Westphalia,  Apr.  11,  1819;  d.  Man- 
chester, Eng.,  Oct.  25,  1895.  Son  of 
orgt.;  played  in  public  frequently  as 
child;  stud,  with  Rinck  and  G.  Weber 
at  Darmstadt;  in  Paris  after  1836, 
studied  with  Kalkbrenner,  became 
friend  of  Chopin,  Liszt,  Berlioz,  and 
Cherubini;  Revolution  of  1848  drove 
him  to  England;  1857  founded  and 
directed  Manchester  Orch.;  remark- 
able condr.,  he  brought  orch.  to 
London  and  did  much  to  introduce 
music  of  Berlioz;  also  after  1852  gave 
pf.  recitals,  among  first  in  London, 
at  which  he  showed  himself  remark- 
able Beethoven  player;  correct  but 
somewhat  cold  player;  married  for 
second  wife  Wilma  Maria  Franziska 
Neruda,  known  as  Norman-Neruda, 
vlt.  b.  Briinn,  Mar.  29,  1839.  Pupil 
of  Jansa;  de"but  Vienna  1846;  played 
with  sister,  pst.,  and  with  father, 
orgt.,  and  brother,  'cellist;  1849 
appeared  in  London;  1864  sensational 


HALLEN 


HANCHETT 


success  in  Paris;  married  Ludwig 
Norman;  prolonged  popularity  in 
London,  after  marriage  with  Halle, 
went  with  him  to  Australia;  Ameri- 
can tour  1899. 

Hallen  (hal-len),  Anders,  compr.  b. 
Gothenburg,  Sweden,  Dec.  22,  1846. 
Pupil  of  Reinecke,  Rheinberger,  and 
Rietz;  condr.  Musical  Union,  Goth- 
enburg, and  of  Philharmonic  concerts 
and  royal  opera,  Stockholm;  com- 
posed operas,  Hexfattan  1896;  ballad 
cycles  Vom  Pagen  und  der  Konigs- 
tochter,  Traumkonig  und  sein  Lieb,  etc. 

Hallstrom  (hal'-strain),  Ivan  Kristian, 
compr.  b.  Stockholm,  June  5,  1826; 
d.  there,  Apr.  10,  1901.  Student  of 
law;  librarian  to  Crown  Prince; 
director  of  school  of  mus.  1861;  com- 
positions are  national  in  subject  as 
well  as  in  style;  has  written  several 
operas  Der  Bergkonig  (most  success- 
ful), and  cantata  Die  Blumen,  which 
took  prize  at  Stockholm. 

Hambourg,  Mark,  pst.  b.  Bogutchar, 
S:  Russia,  May  30,  1879.  Pupil  of 
father,  pf.  teacher,  and  of  Lesche- 
tizky;  as  youthful  prodigy  known 
as  Max  H.,  gave  concerts  in  1891; 
reappeared  at  Vienna  Philharmonic 
concerts,  having  played  in  Australia 
the  year  before;  1896  again  in  Lon- 
don; since  then  popular  in  many 
cities;  first  appearance  U.  S.  1899 
and  successful  concerts  here  1900, 
1902,  etc. ;  makes  his  home  in  London ; 
possessed  of  prodigious  memory  and 
amazing  technic;  is  said  to  be 
"  temperamentally  akin  to  Rubin- 
stein." • 

Hamerik,  Asger  [properly  Hammerich], 

compr.  b.  Copenhagen,  Apr.  8,  1843. 
Early  aptitude  for  music  encouraged; 
pupil  of  Gade,  Haberbier,  and  in 
1860  of  Von  Billow;  abandoning  pf. 
studies,  studied  comp.  in  Paris  with 
Berlioz  whose  only  pupil  he  claims  to 
be  and  whose  substitute  as  condr.  he 
often  was;  1872-98  director  of  Pea- 
body  Cons.,  Baltimore,  where  he  gave 
pf.  concerts;  composed  6  symphonies, 
Po6tique,  Tragique,  etc.,  and  2  choral 
trilogies,  4  operas;  occasionally  bom- 
bastic, but  often  genuinely  lyrical 
and  really  humorous. 

Hamilton,  Clarence  Grant,  teacher, 
author,  b.  Providence,  R.  I.,  June  9, 
1865.  Educated  in  local  schools 


and  Brown  University  (A.B.  1888; 
A.M.  1900);  began  the  study  of 
piano  playing  at  an  early  age,  chief 
teachers  being  Edward  Hoffman  and 
Arthur  Foote;  studied  organ  and 
theory  with  H.  C.  Macdougall  and 
theory  with  G.  W.  Chadwick;  taught 
mathematics  and  language  at  a 
boys'  school  in  Providence,  and 
piano,  privately;  associate  professor 
of  music,  Wellesley  College,  1904; 
organist  Congregational  Church, 
Wellesley;  officer  of  Music  Teachers' 
National  Association,  N.  E.  Chapter 
American  Guild  of  Organists;  pub- 
lished compositions  include  songs, 
piano  pieces,  and  anthems;  author  of 
Outlines  of  Music  History  and  Piano 
Teaching:  Its  Principles  and  Prob- 
lems; articles  in  musical  magazines. 

TTatnma,  Benjamin,  compr.  b.  Fried- 
ingen,  Oct.  10,  1831.  Studied  with 
Lindpaintner  at  Stuttgart  where  he 
became  director  of  new  mus.  school, 
after  having  lived  in  Paris,  Rome, 
and  Konigsberg;  comp.  an  opera, 
part-songs,  etc. 

Hammerschmidt  (ham'-mer-shmit) ,  An- 
dreas, orgt.,  compr.  b.Briix,  Bohemia, 
1611;  d.  Zittau,  Oct.  29,  1675.  Pupil 
at  Schandau  of  Stephan  Otto;  orgt. 
at  Freiburg  and  1639  at  Zittau; 
originality  makes  him  of  importance 
in  development  of  Lutheran  ch.  mus. 
before  Bach;  composed  Geistliche 
Concerten,  Geistliche  Madrigalen,  Dia- 
log zwischen  Gott  und  einer  glaubigen 
Seele  (form  afterward  developed  into 
Bach's  cantatas  and  Handel's  orato- 
rios), Fest-Buss-und  Danklieder  (32 
hymns,  some  of  which  are  still  in 
use),  masses,  etc. 

Hanchett,  Henry  G.,  pst.,  author,  b. 
Syracuse,  N.  Y.,  Aug.  29,  1853. 
Father  an  amateur  church  organist, 
mother  a  choir  singer;  began  music 
study  at  six  years,  played  in  public 
at  eight;  graduated  Syracuse  High 
School,  1871;  N.  Y.  Homoeopathic 
Medical  College  1884;  pupil  in  music 
of  Ernst  Held,  A.  J.  Goodrich, 
Wm.  H.  Sherwood,  Theodor  Kullak, 
Wm.  Mason,  A.  K.  Virgil;  teacher 
at  various  schools  of  music,  including 
Beethoven  Conservatory,  St.  Louis, 
Metropolitan  Conservatory  and 
Adelphi  School  of  Musical  Art,  New 
York;  director  (1910)  of  musical 
department  National  Park  Seminary, 


HANDEL 


HANDEL 


organist  Syracuse,  N.  Y.,  St.  Louis, 
New  York,  and  suburban  towns; 
musical  director  at  Monteagle,  Tenn., 
and  De  Funiak  Springs,  Fla., 
Chautauquas;  lecturer  on  music  for 
the  Brooklyn  Institute  and  New 
York  City  Board  of  Education;  has 
given  lecture  recitals  throughout 
Canada  and  the  United  States; 
author  of  several  medical  and  the 
following  musical  books:  Teaching 
as  a  Science  and  The  Art  of  the 
Musician;  inventor  of  the  Sostenuto 
or  tone-sustaining  pedal  in  general 
use  in  grand  pianos;  a  founder  of 
the  American  Guild  of  Organists. 

Handel,  Georg  Friedrich,  compr.  b. 
Halle,  Saxony,  Feb.  23,  1685;  d. 
London,  Apr.  14,  1759.  Son  of 
surgeon-barber  who,  wishing  the 
son  to  be  a  lawyer,  refused  him  all 
musical  instruction;  but  the  boy 
learned  to  play  on  a  clavichord 
which  was  concealed  in  the  garret; 
at  8  he  played  before  Duke  of 
Weissenfels  so  well  that  the  latter 
overcame  the  father's  objections. 
After  some  lessons  from  Zachau,  he 
met  Ariosto  and  Bononcini  at 
Berlin,  and  so  impressed  the  elector 
by  playing  and  improvising  that 
he  wished  to  send  him  to  Italy,  but 
father  still  hoped  that  he  would 
study  law;  after  father's  death,  he 
did  enter  Halle  University  1702, 
being  at  same  time  orgt.;  at  Ham- 
burg 1703-1706,  he  played  in  orch. 
under  Keiser,  became  friend  of 
Mattheson  and  quarreled  with  him; 
composed  4  operas,  of  which  Almira 
was  most  successful.  In  Italy  1706- 
1710  he  produced  operas  and  sacred 
music  at  Naples,  Florence,  Rome, 
and  Venice;  1710  after  few  months 
as  capellmeister  to  elector  of  Han- 
over he  went  to  England,  and 
produced  Rinaldo;  he  was  again  in 
England  1712-1714,  when  elector 
became  George  I,  and  Handel  made 
peace  with  king  only  after  com- 
position of  the  beautiful  Water 
Music.  After  producing  his  last 
German  work,  The  Passion,  in 
Hanover,  he  became  chapelmaster 
to  Duke  of  Chandos,  for  whom  he 
wrote  the  Chandos  anthems,  etc. 
In  1720  undertook  direction  of 
Italian  Opera  for  a  society  known 
as  the  Royal  Acad.  of  Mus.;  engaged 


company  including  Senesino,  and 
produced  Radamisto.  Opposition  to 
his  success  on  part  of  Bononcini  and 
Ariosto  led  to  Muzio  Scevola,  for 
which  each  one  composed  one  act; 
continued  enmity  of  Bononcini, 
aided  by  personal  enemies  of  Handel, 
caused  division  of  London  society; 
1729  partner  of  Heidegger  at  King's 
Theatre;  defection  of  Senesino  and 
acquisition  by  opposition  of  such 
singers  as  Cuzzoni,  Farinelli,  and 
Faustina  Bordoni,  with  her  husband 
Hasse,  pressed  H.  hard;  on  Heideg- 
ger's retirement,  his  rivals  gained 
King's  Theatre  and  Handel  went  to 
Co  vent  Garden.  H.  became  bank- 
rupt 1737,  and  the  other  company 
met  no  better  fate.  In  1738  he 
turned  to  English  oratorio,  produc- 
ing Saul,  Israel  in  Egypt  1739, 
Messiah  1742  in  Dublin,  1743  in 
London,  Samson  1743,  and  others. 
Although  again  bankrupt  1744,  he 
persisted  in  composition  until  blind- 
ness 1752,  and  even  thereafter, 
Triumph  of  Time  and  Truth  1757. 
He  wrote  about  40  operas  and 
about  30  oratorios  and  occasional 
anthems,  odes,  etc.;  edition  of  his 
works  edited  by  Chrysander  in  94 
volumes  1859-94  is  final.  Person- 
ally H.  was  proud,  sensitive,  im- 
patient, given  to  terrible  bursts  of 
rage  and  profanity,  yet  generous  to 
singers  and  those  associated  with 
him,  and  to  the  poor.  He  frequently 
plagiarized  themes  of  other  com- 
posers, partly  owing  to  contem- 
porary carelessness  in  such  matters 
and  partly  because  of  an  individual 
lack  of  delicacy.  His  operas  are 
similar  to  those  composed  at  the 
tune  in  France  and  Italy  and  not 
much  better;  his  instrumental  music 
is  not  so  original  as  that  of  Bach  or 
Couperin;  even  his  organ  music  is 
not  supreme.  He  excels  in  oratorio 
only;  there  his  power  of  producing 
broad  and  massive  effect  has  full 
sway,  and  his  limitations — lack  of 
delicacy  and  fine  discrimination  and 
tendency  toward  mechanical  means 
— are  not  conspicuous.  Comparison 
with  Bach  rests  on  their  being  born 
the  same  year,  not  on  any  real 
resemblance  between  the  laborious, 
subtle,  incessantly  original  work  of 
the  retired  organist  and  the  conspicu- 
ous achievements  of  Handel. 


HANDLO 


HARTMANN 


Handle,  Robert  de,  writer.  Author  of 
treatise  commenting  on  that  of 
Franco  of  Cologne,  dated  1326; 
deals  with  notation,  time-values, 
and  modes  of  rhythm,  showing 
unsettled  state  of  notation.  (See 
Grove.) 

Handrock  (hand-rok),  Julius,  pst., 
compr.  b.  Naumburg,  June  22, 
1830;  d.  Halle,  Jan.  5,  1894.  Lived 
chiefly  in  Halle,  as  pf.  teacher; 
compositions  mostly  for  pf.  and 
generally  of  an  educational  char- 
acter. 

Hanscom,  E.  W.,  compr.  b.  Durham, 
Me.,  Dec.  28,  1848.  Studied  in 
native  state,  with  two  periods  in 
London,  Berlin,  and  Vienna;  has 
published  various  secular  and  relig- 
ious songs  and  choruses. 

Hanslick,  Eduard,  critic,  b.  Prague, 
Sept.  11,  1825;  d.  Baden,  near 
Vienna,  Aug.  6, 1904.  Son  of  bibliog- 
rapher, student  of  law  and  philos- 
ophy; stud.  pf.  with  Tomaschek; 
doctor's  degree  Vienna  1849;  tutor 
in  aesthetics  and  mus.  hist.  Vienna 
Univ.  1856,  prof.  1870;  public 
lecturer  1859-63,  critic  to  Wiener 
Zeitung  1848-49,  Presse  1855-64,  and 
Neue  Freie  Presse;  first  book  Vom 
Musikalisch-Schonen,  epoch-making 
in  its  insistence  on  the  limitations 
of  mus.  to  musical  ideas,  was  fol- 
lowed by  many  others;  an  ardent, 
often  violent  opponent  pf  Wagner 
and  Liszt  and  equally  violent  sup- 
porter of  Brahms  and  Schumann. 

Hardelot  (ar-de-lo),  Guy  d'  [pseud,  of 
Mrs.  W.  T.  Rhodes,  nee  Helen  Guy], 
compr.  b.  Hardelot  Castle,  near 
Boulogne-sur-Mer.  Composed  songs 
chiefly  French,  with  wide  range  of 
feeling,  and  skill  in  composition; 
Sans  toi,  Almond  Blossoms,  A 
Bunch  of  Violets  are  well  known; 
visited  America  with  Calve;  living 
in  London. 

Harding,  Henry  Alfred,  orgt.,  writer. 
b.  Salisbury,  July  25,  1856.  Pupil 
of  Abram,  Keeton,  and  Corfe;  Mus. 
Doc.  Oxford  1882;  examiner  for 
Soc.  of  Musicians;  orgt.  and  director 
at  Sidmouth,  later  at  Bedford; 
compr.  of  setting  of  Psalm  106, 
morning  service,  etc.,  author  Analy- 
sis of  Form  as  displayed  in  Beethoven's 
Sonatas,  and  Musical  Ornaments. 


Harknes,  see  Senkrah,  Anna  L. 

Harris,  Sir  Augustus  [Henry  Glossop], 

impresario.  b.  Paris,  1852;  d. 
Folkestone,  Eng.,  June  22,  1896. 
Originally  actor,  asst.  stage  manager 
under  Mapleson  1873;  leased  Drury 
Lane  Theatre,  London,  1879,  pro- 
duced pantomimes  and  melodramas; 
managed  annual  visits  of  Carl  Rosa 
Co.  and  in  1888  began  long  career 
as  manager  of  Co  vent  Garden; 
made  opera  again  the  fashion  in 
London,  introducing  many  new  stars 
and  new  works. 

Harris,  William  Victor,  compr.  b. 
New  York,  Apr.  27,  1869.  Pupil  of 
Blum,  Courtney,  Schilling,  and 
Seidl  (conducting);  orgt.  in  Brook- 
lyn and  N.  Y.;  condr.  choral 
societies  in  Utica  and  N.  Y.;  coach 
at  Metropolitan  Opera  1892-95;  asst. 
condr.  to  Seidl  at  Brighton  Beach 
1895-96;  living  in  N.  Y.;  vocal 
teacher  and  compr.,  chiefly  of  songs. 

Harriss,  Charles  Albert  Edwin,  orgt., 
compr.  b.  London,  Dec.  15,  1862. 
Chorister  and  orgt.  at  early  age  in 
England;  living  since  1883  at 
Montreal,  orgt.  at  Ch.  of  St.  James 
the  Apostle;  founder  of  madrigal 
society;  compr.  of  opera,  cantata, 
much  church  mus.;  had  great 
influence  in  increase  of  musical 
interest  in  Montreal  and  Canada 
generally. 

Hart,  John  Thomas,  vln.-maker.  b. 
Westminster,  Dec.  17,  1805;  d. 
there,  Jan.  1,  1874.  Pupil  of  Gilkes, 
and  careful  student  of  Italian  violins, 
in  which  he  dealt  as  expert.  His  son 
and  business  successor,  George,  vln.- 
maker,  writer,  b.  London,  Mar.  23, 
1839;  d.  near  Newhaven,  Apr.  25, 
1891.  Stud,  at  Royal  Acad.  with 
Sainton  and  Macfarren;  author  of 
very  valuable  work,  The  Violin, 
its  Famous  Makers  and  Their  Imi- 
tators 1875,  and  less  authoritative 
The  Violin  and  Its  Music  1881. 

Hartmann,  Johan  Peter  Emilius,  compr. 
b.  Copenhagen,  May  14,  1805;  d. 
there,  Mar.  10,  1900.  Grandson  of 
Johann  Ernst  H.  (1726-1793),  compr. 
of  Danish  national  hymn;  son  of 
August  Wilhelm,  orgt.;  his  father's 
assistant;  at  first  a  lawyer;  taught 
in  Copenhagen  Cons,  of  which  he 


HARTMANN 


HATTON 


was  director  1840;  Royal  capellm. 
1849;  compr.  of  4  successful  operas 
(Die  Ravnen  1832  was  first),  sym- 
phonies, incidental  music;  first 
exponent  of  Scandinavian  national 
music;  Gade  was  his  son-in-law. 
His  son  Emil,  compr.  b.  Copen- 
hagen, Feb.  21,  1836;  d.  there,  July 
19,  1898.  Pupil  of  father  and  Gade; 
court  orgt.  1871  to  retirement  1873; 
1891  director  of  Mus.  Society; 
composed  several  operas  and  instr. 
music. 

Hartmann,  Arthur,  vlt.  b.  Mat6  Szalka, 
Hungary,  July  23,  1881.  Came  to 
America  as  infant.  Educated  here 
entirely,  chiefly  as  pupil  of  C.  M. 
Loeffler;  went  to  Berlin  unheralded 
1902,  and  after  successful  d6but 
played  in  various  cities;  lives  and 
teaches  in  Paris  1909,  more  praised 
for  unique  quality  of  tone  than  for 
technic. 

Hasler  [or  Hassler],  Hans  Leo  von, 
compr.  b.  Nuremberg,  1564;  d. 
Frankfort,  June  8,  1612.  Eldest  of  3 
sons  of  Isaac  H.,  town  musician; 
studied  with  father  and  with  A. 
Gabrieli  in  Venice;  first  German 
compr.  who  studied  in  Italy;  1585 
orgt.  to  Count  Fugger;  1608  to 
Christian  II  of  Saxony;  composed 
Latin  motets  and  masses,  which 
were  said  to  unite  beauty  of  Italian 
and  German  art;  holds  same  place 
in  German  art  that  Palestrina  does 
in  Italian;  brothers  Jacob  (1566- 
1601),  orgt.,  and  Caspar  (1570-1618), 
orgt.,  clavier  player,  editor  of  collec- 
tion of  church  music. 

Hasse  (has-s6),  Johann  Adolph  [Peter], 
compr.  b.  Bergedorf,  near  Ham- 
burg [baptized  Mar.  25],  1699;  d. 
Venice,  Dec.  16,  1783.  Taught  by 
his  father;  influence  of  poet  Ulrich 
Konig  led  to  engagements  as  singer 
at  Hamburg  and  at  Brunswick, 
where  he  produced  only  German 
opera;  1724,  after  few  lessons  from 
Porpora,  became  pupil  of  A.  Scar- 
latti; having  composed  serenade 
sung  by  Tesi  and  Farinelli  was  com- 
missioned to  write  Italian  opera 
which  made  him  popular;  known 
as  il  caro  Sassone;  met  and  married 
Faustina  Bordoni  for  whom  he 
composed  famous  works;  1731  direc- 
tor of  Dresden  opera,  successful 
despite  rivalry  of  Porpora;  about 


1740  visited  London,  but  did  not 
wish  to  be  rival  to  Handel;  after 
losses  in  siege  of  Dresden,  withdrew 
to  Vienna,  where  for  the  third  time 
he  found  a  formidable  rival  in  Gluck, 
and  saw  possibilities  of  eclipse  in 
Mozart's  beginnings;  retired  to 
Venice  about  1773.  Composed  over 
100  operas,  church  music,  concertos, 
with  much  .delightful  melody.  His 
wife  Faustina  Bordoni,  dram,  mezzo 
sop.  b.  Venice,  1700;  d.  there, 
Nov.  4,  1783.  Studied  with  Gas- 
parini  and  B.  Marcello;  d6but  1716; 
sang  at  Venice,  Naples,  Florence, 
Vienna,  London  under  Handel 
(1726-30),  where  she  astonished 
by  facility,  rapidity,  dexterity  in 
taking  breath,  and  power  of  sustain- 
ing notes;  after  marriage  with 
Hasse  1730,  went  with  him  to 
Dresden  and  thence  to  Venice. 

Hastings,  Frank  Seymour,  compr.  b. 
Mendham,  N.  Y.,  May  31,  1853. 
Son  of  clergyman;  early  played  org., 
studied  composition  and  singing  in 
such  leisure  as  could  be  snatched 
from  business;  composed  chiefly 
songs,  of  which  Red,  Red  Rose  has 
had  large  sale,  as  well  as  anthem 
Just  as  I  am. 

Hastings,  Thomas,  writer,  compr.  b. 
Washington,  Conn.,  Oct.  15,  1787; 
d.  New  York,  May  2,  1872.  Self- 
taught;  editor  Utica  Recorder;  after 
1832  organized  church  choirs  and 
taught  psalmody  in  N.  Y.;  wrote 
History  of  Forty  Choirs  and  Dis- 
sertation on  Musical  Taste;  com- 
posed hymn-tunes. 

Hastreiter  (has'-tri-ter),  Helen,  dram, 
contralto,  b.  Louisville,  Ky.,  Nov. 
14,  1858.  Studied  with  Lamperti; 
married  Dr.  Burgunzi,  physician; 
living  in  Genoa;  has  been  great 
favorite  in  Italy. 

Hatton,  John  Liptrot,  compr.  b. 
Liverpool,  Oct.  12,  1809;  d.  Margate, 
Sept.  20,  1886.  Self-taught,  except 
for  mere  rudiments;  went  to  Lon- 
don 1832;  condr.  at  Drury  Lane 
1842;  brought  out  operetta  there; 
1844  prod.  Pascal  Bruno  in  Vienna; 
1848  visited  America;  director  at 
Princess's  Theatre,  London,  1853-58; 
composed  much  incidental  music, 
songs  (many  under  pseud.  Czapek), 
cantatas,  etc. 


HATTSTAEDT 


HAWKINS 


Hattstaedt,  John  J.,  pst.,  teacher,  b. 
Monroe,  Mich ,  Dec.  29,  1851. 
Father  a  clergyman;  early  showed 
inclination  toward  music;  studied 
in  the  U.  S.  and  in  Germany;  began 
his  professional  career  in  Detroit, 
locating  in  Chicago  in  1875,  as 
teacher  of  piano  in  the  Chicago 
Musical  College;  founded  American 
Conservatory  of  Music,  Chicago,  in 
1886,  of  which  he  is  president  and 
teacher  of  the  classes  in  advanced 
piano  playing;  lectures  on  musical 
pedagogy  and  aesthetics;  contributor 
to  musical  magazines;  wrote  a 
history  of  music. 

Hauck  (howk),  Minnie,  dram,  sop. 
b.  New  York,  Nov.  16,  1852.  Pupil 
of  Curto  at  New  Orleans,  of  Erani 
at  N.  Y.;  debut  Brooklyn  1866; 
after  further  instruction  from  M. 
Strakosch,  sang  in  London  1868, 
Paris,  and  Vienna  where  she  became 
great  favorite;  engaged  at  Berlin 
1874-77;  at  Brussels,  at  London, 
(where  she  was  first  Carmen);  mar- 
ried E.  V.  Hesse-Wartegg  1881; 
made  three  trips  around  the  world, 
appearing  in  many  roles;  retired 
1896  to  Lucerne. 

Haupt  (howpt),  Carl  August,  orgt.  b. 
Kuhnau,  Silesia,  Aug.  25,  1810;  d. 
Berlin,  July  4,  1891.  Pupil  of  A.  W. 
Bach,  Klein,  Dehn,  Schneider;  orgt. 
several  Berlin  churches,  finally  at 
Parochialkirche;  director  mus.  in- 
stitute; famous  for  fine  improvisa- 
tions; many  famous  pupils,  among 
them  J.  K.  Paine,  Eugene  Thayer, 
Clarence  Eddy. 

Hauptmann  (howpt'-man),  Moritz,  theo- 
rist, compr.  b.  Dresden,  Oct.  13, 
1792;  d.  Leipzig,  Jan.  3,  1868.  Son 
of  state  architect;  pupil  of  Grosse, 
Scholz,  and  Morlacchi;  1811  became 
friend  and  pupil  of  Spohr;  1812  vlt. 
Dresden  court  orch.;  1815-20  teach- 
ing in  Russia;  member  of  Spohr's 
orch.  at  Kassel;  on  recommendation 
of  Mendelssohn  and  Spohr,  ap- 
pointed director  at  Thomasschule 
and  prof,  of  counterpoint  at  Leipzig 
Cons. ;  valued  teacher  of  pupils  from 
all  over  the  world,  Joachim,  Von 
Billow,  Sullivan,  Ferd.  David,  Dud- 
ley Buck,  C.  C.  Converse,  etc!  In 
his  compositions,  as  in  his  teaching, 
he  emphasized  unity  of  idea  and 
symmetry  of  form;  wrote  chiefly 


part-songs,  motets,  canons,  etc., 
widely  popular  with  choral  societies; 
also  wrote  abstruse  but  valuable 
Nature  of  Harmony  and  Rhythm. 

Hausegger  (how'-seg-ger),  Siegmund 
von,  compr.  b.  Graz,  Aug.  16,  1872. 
Taught  by  father,  Friedrich  H., 
teacher  of  theory  Graz  Univ.,  and 
by  Pohlig,  and  at  Styrian  Musik- 
verein;  capellm.  Graz,  Bayreuth,  and 
condr.  Kaim  Orch.  Munich,  from 
1903-06  condr.  Museum  Concerts 
at  Frankfort;  composed  part-songs, 
grand  mass,  opera  Zinnover  (Munich 
1898);  symph.  poems,  Dionysische 
Fantasie,  Barbarossa,  and  Wieland 
der  Schmied,  excited  attention  as 
interesting  examples  of  ultra-modern 
German  orchestration. 

Hauser  (how'-ser),  Miska,  vlt.  b. 
Pressburg,  Hungary,  1822;  d.  Vien- 
na, Dec.  9,  1887.  Studied  with 
Matalay,  Kreutzer,  and,  at  Vienna 
Cons.,  with  Mayseder  and  Sechter; 
from  1840-74  appeared  in  Europe, 
America,  and  Australia  as  virtuoso; 
wrote  Wanderbuch  eines  dsterreich- 
ischen  Virtuosen  about  Am.  tour; 
composed  Lieder  ohne  Worte  for 
violin. 

Hausmann  (hows'-man),  Robert,  'cel- 
list, b.  Rottleberode,  Harz  Mts., 
Aug.  13,  1852;  d.  Vienna,  Jan.  19, 
1909.  Studied  at  Brunswick  under 
Th.  Muller,  and  at  Berlin  Hoch- 
schule  with  Wm.  Muller,  under 
Joachim's  direction;  further  lessons 
from  Piatti;  member  of  Hochberg 
Quartet  1872-76;  teacher  at  Hoch- 
schule;  member  of  Joachim  Quartet 
after  1879. 

Havens,  Charles  Arthur,  orgt.  b.  Essex, 
N.  Y.  1842.  Studied  in  Boston;  orgt. 
in  Chicago  for  36  years  at  1st  Baptist 
Church,  where  his  choir  is  an  impor- 
tant part  of  the  service;  compr.  of 
over  150  church  compositions  from 
simple  gospel  songs  to  elaborate 
anthems. 

Hawkins,  Sir  John,  historian,  b.  Lon- 
don, Mar.  30,  1719;  d.  Westminster, 
May  21,  1789.  By  profession  attor- 
ney; 1740  member  of  Academy  of 
Antient  Music,  1749  of  Johnson's 
Club;  1752  of  Madrigal  Society;  upon 
marriage  to  wealthy  woman,  retired 
to  Twickenham,  where,  among  other 
activities,  he  wrote  his  History  of 


HAWLEY 


HAYDN 


Music;  first  vol.  came  out  in  same 
year  (1776)  with  that  of  Burney, 
whom  contemporaries  considered 
superior  but  whom  posterity  judges 
less  trustworthy. 

Hawley,  Charles  Beach,  compr.  b. 
Brookfield,  Conn.,  Feb.  11,  1858.  Of 
musical  family;  studied  in  New  York 
with  Webb,  Buck,  Mosenthal,  and 
Rutenber;  bass  soloist  and  orgt.  in 
several  churches;  member  of  Men- 
delssohn Glee  Club,  for  which  he  has 
composed  many  part-songs  (My 
Love's  like  a  Red,  Red  Rose,  Bugle 
Song,  They  Kissed) ;  also  many  songs 
of  charming  melody. 

Haydn  (hldn),  Franz  Josef,  compr. 
b.  Rohrau-on-the-Leitha,  Austria, 
Mar.  31  (baptized  Apr.  1),  1732;  d. 
Vienna,  May  31,  1809.  Son  of 
Mathias  H.,  wheelwright,  sexton, 
orgt.,  and  singer,  and  his  wife  Maria, 
formerly  a  cook;  by  recent  evidence 
Kuhac  shows  that  H's  ancestors  were 
Croatians  and  that  his  inheritance 
is  therefore  Slavic,  not  Teutonic,  a 
theory  to  which  Croatian  folk-song 
in  his  music  and  his  fondness  for 
irregular  rhythms  give  support;  of 
12  children  3  were  musicians  and 
there  was  simple  singing  at  home; 
at  5,  owing  to  influence  of  cousin, 
J.  M.  Frankh,  H.  was  sent  to  school 
at  Hamburg,  where  for  two  years, 
though  neglected  and  flogged,  he 
was  taught  rudiments  of  music, 
playing  on  vln.  and  some  other  instr.; 
1740  taken  by  Reutter  to  Vienna  as 
chorister  at  St.  Stephen's,  where  he 
learned  singing,  vln.,  and  clavier; 
though  he  received  no  instruction  in 
composition,  he  studied  Fux's  Gradus 
ad  Parnassum  and  a  work  by  Mat- 
theson  by  himself,  and  composed  a 
great  deal;  1748  supplanted  as  singer 
by  brother  Michael,  he  was  set 
adrift  without  help  from  the  school; 
assisted  by  friends,  he  gave  lessons, 
studied  C.  P.  E.  Bach,  and  composed 
1st  mass;  through  influence  of  Metas- 
tasio,  obtained  distinguished  pupil, 
through  whom  he  met  Porpora;  as 
P's  accompanist,  met  Gluck  and 
other  contemporaries;  1755  at  house 
of  Baron  Fiirnberg  he  composed  his 
first  quartet  and  what  was  really  his 
first  symphony  (the  term  was  loosely 
used  before  his  time  for  any  con- 
certed instrumental  piece);  1760 


married  most  unhappily,  while  in  em- 
ploy of  Count  Morzin;  1761  became 
2d  capellmeister  under  Werner,  to 
Prince  Esterhazy,  as  1st  capellm. 
after  Werner's  death  1766  to  Prince 
Nicolaus  E.,  who  succeeded  in  1762. 
H.  had  ample  opportunity  and  en- 
couragement for  further  composi- 
tion; except  for  brief  annual  visits 
to  Vienna,  his  time  was  passed  at 
Eisenstadt,  where  he  composed  about 
30  symph.,  40  quartets,  and  nearly 
all  his  operas;  his  works  became 
known  and  admired  all  over  Europe; 
he  made  many  friends  chief  of  whom 
was  Mozart,  between  whom  and  H. 
there  was  mutual  affection  and 
support.  In  1790,  on  death  of  Prince 
Nicolaus,  musicians  were  dismissed, 
though  Haydn's  pay  was  continued. 
He  yielded  to  pressure  of  Salomon 
and  visited  London  in  1791,  where 
he  composed  the  "  Salomon  sympho- 
nies," received  degree  from  Oxford 
and  honor  from  all  classes;  1792  in 
Vienna  again,  where  he  gave  lessons 
to  Beethoven;  1794  he  went  again 
to  England,  and  returned  1795  to 
reorganize  the  Esterhazy  musical 
forces.  Composed  Austrian  national 
hymn,  Gott  erhalte  Franz  den  Kaiser 
1797.  And  in  his  old  age  produced 
Die  Schopfung  (Creation)  1798  and 
Die  Jahreszeiten  (Seasons)  1801. 
His  last  years  were  prosperous  and 
happy,  except  for  his  concern  for 
his  country.  Though  unattractive 
in  appearance,  he  was  genial,  kindly, 
and  humorous,  so  amiable  that  the 
term  "  Papa  Haydn  "  was  widely 
applied.  His  operas  and  his  early 
songs  are  not  often  played,  his  ora- 
torios are  closely  second  to  Handel's; 
his  masses  and  The  Seven  Words  on 
the  Cross  are  still  valued  for  the 
sincerity  of  their  religious  sentiment. 
But  chiefly  H.  is  important  as  giving 
final  form  to  symphony  and  quartet, 
as  "father  of  orchestral  music."  His 
own  works,  though  they  sometimes 
seem  simple  and  lacking  in  emotional 
depth,  are  remarkable  for  the  amaz- 
ing variety  of  themes,  the  gaiety  of 
spirit,  the  accurate  sense  of  structure, 
and  delicate,  acute  feeling  for  detail. 

Haydn,  Johann  Michael,  compr.  b. 
Rohrau,  Sept.  14,  1737;  d.  Salzburg, 
Aug.  10,  1806.  Brother  of  F.  J.; 
remarkable  for  sop.  voice  when 


HAYNES 

chorister  at  Vienna;  orgt.;  capellm. 
at  Grosswardein;  1762  concert- 
master  and  director  to  archbishop, 
and  orgt.  at  Salzburg;  married  singer 
Maria  Magdalena  Lipp;  lost  property 
under  French  occupation  but  was 
assisted  by  brother  and  Empress 
Maria  Theresa;  at  his  school  of  comp. 
taught  Reicha,  Weber,  etc.;  refused 
offers  of  Prince  Esterhazy  to  make 
him  vice-capellm.  of  his  chapel  in 
hope  of  reorganization  at  Salzburg; 
excellent  church  compr.,  admired  by 
contemporaries,  but  overshadowed 
by  his  brother;  his  modesty  pre- 
vented him  from  publishing,  but 
many  works  are  extant,  notably 
masses,  graduals,  offertories,  some 
orchestral  works  and  org.  preludes. 

Haynes,  Walter  Battison,  orgt.,  compr. 
b.  Kempsey,  Worcestershire,  Nov. 
21,  1859;  d.  London,  Feb.  4,  1900. 
Pupil  of  Prout  and  at  Leipzig  Cons, 
of  Reinecke  and  Jadassohn;  won 
Mozart  scholarship;  orgt.  at  Syden- 
ham  and  Chapel  Royal,  Savoy; 
director  of  mus.  at  Borough  Poly- 
technic; prof,  of  harmony  at  Royal 
Acad.;  composed  symph.,  chamber 
mus.,  2  cantatas  for  women's  voices, 
and  Elizabethan  Lyrics. 

Hays,  William  Shakespeare,  compr. 
b.  Louisville,  Ky.,  July  19,  1837; 
d.  Louisville,  July  22,  1907.  Wrote 
his  first  song  at  16,  and  in  all  several 
hundred,  almost  all  widely  sold; 
Evangeline,  My  Sunny  Southern 
Home,  Molly  Darling,  etc.;  also 
occupied  with  editorial  work  for 
Courier-Journal. 

Heap,  Charles  Swinnerton,  pst.,  compr. 
b.  Birmingham,  Apr.  10,  1847;  d. 
there,  June  11,  1900.  Chorister, 
pupil  of  Monk;  winner  of  Mendels- 
sohn Scholarship  1865,  studied  at 
Leipzig  under  Moscheles,  Haupt- 
mann,  Richter,  and  Reinecke;  fur- 
ther under  Best  in  Liverpool;  condr. 
of  Birmingham  Philharmonic  Union 
1870-1886;  of  Birmingham  Festival 
Choral  Society  after  1895;  chorus- 
master  for  festival  1897;  examiner 
for  Camb.  Univ.;  composed  chamber 
mus.,  overtures,  cantatas  (Maid  of 
Astolat),  and  several  organ  pieces. 

Hedouin  (a-do-an),  Pierre,  writer,  b. 
Boulogne,  July  28,  1789;  d.  Paris, 
Dec.  1868.  Studied  law  in  Paris, 


HEINRICH 

practised  in  Boulogne;  chef  du 
bureau  at  Ministry  of  Public  Works, 
Paris,  after  1842;  contributed  to 
periodicals,  wrote  novels,  librettos, 
composed  some  songs;  chief  mus. 
writings  are  about  Monsigny,  Gr6- 
try,  Lesueur,  Paganini,  Gluck,  etc.; 
articles  collected  in  Mosa'ique. 

Heermann  (har-man),  Hugo,  vlt.  b. 
Heilbronn,  Mar.  3,  1844.  Pupil  of 
de  Meerts,  de  B6riot,  and  Fetis  at 
Brussels  Cons.,  and  in  Paris;  1865 
concertmaster  at  Frankfort;  1878 
teacher  at  Hoch  Cons,  there;  founded 
Heermann  Quartet,  with  Naret-Kon- 
ing,  Welcher,  and  Becker;  has  given 
many  concerts  in  Germany,  France, 
and  England;  in  America  1903;  ad- 
mired especially  as  quartet  player. 

Hegar  (ha-gar),  Friedrich,  condr., 
compr.  b.  Basle,  Oct.  11,  1841. 
Pupil  at  Leipzig  Cons,  of  Haupt- 
mann,  Richter,  David,  and  Plaidy; 
after  leading  orch.  in  Warsaw  and 
Gebweiler,  living  in  Paris  and  Lon- 
don, settled  1863  in  Zurich,  where  he 
became  condr.  of  Subscription  Con- 
certs and  of  Choral  Soc.,  founded 
mus.  sch.;  composed  choral  works, 
Hymne  an  die  Musik,  Waldlied,  Die 
Trompete  von  Gravelotte,  etc. 

Hegner  (hag'-ner),  Anton,  'cellist,  b. 
Copenhagen,  Mar.  2,  1861.  Studied 
at  Copenhagen  Cons.,  played  there 
and  in  Germany  with  great  success; 
now  living  in  New  York;  composed 
'cello  concertos,  quartets,  about  60 
songs. 

Hegner,  Otto,  pst.  b.  Basle,  Nov.  18, 
1876.  Pupil  at  Basle  of  Fricker, 
Huber,  and  Glaus;  appeared  as 
prodigy  in  several  German  cities, 
m  England  and  America  1888;  1904 
teacher  at  Hoch  Cons,  in  Frankfort; 
has  composed  chiefly  for  pf. 

Heinrich  (hln'-rik),  Max,  baritone, 
compr.  b.  Chemnitz,  June  14,  1853. 
Studied  with  Klitzsch  at  Zwickau 
and  at  Dresden  Cons.;  taught  in 
Philadelphia,  Alabama,  at  Royal 
Acad.  London  1888-93;  successful 
at  large  concerts  in  N.  Y.  1882-88; 
then  located  in  Chicago,  where  he 
gave  "  farewell  recital"  1903,  re- 
moving to  Boston;  now  (1910)  settled 
in  New  York;  composed  picturesque 
songs,  setting  to  Poe's  Raven,  etc. 


HELLER 


HENSCHEL 


Heller  (el-lar'),  Stephen,  pst.,  teacher, 
compr.  b.  Pesth,  May  15,  1815;  d. 
Paris,  Jan.  14,  1888.  Pupil  of 
Brauer,  played  in  public  at  9; 
studied  with  Halm  at  Vienna;  gave 
concerts  1827-32  in  Hungary,  Po- 
land, and  Germany;  falling  ill  on 
the  way,  was  adopted  by  wealthy 
family  in  Augsburg  where  he  worked 
at  composition;  1838  at  Paris,  mem- 
ber of  Liszt-Chopin  circle,  popular 
as  player  and  teacher;  except  for 
visits  to  London  in  1849  and  1862, 
lived  in  Paris;  his  early  compositions 
were  praised  by  Schumann;  his 
works,  all  for  pf.,  consist  of  Etudes, 
Preludes,  etc.,  and  series  of  pieces 
the  names  of  which  show  romantic 
attitude,  Promenades  d'un  solitaire, 
Nuits  blanches,  etc.;  studies  still 
very  popular  for  grace  and  fluency, 
without  triviality  of  thought  and  yet 
without  great  difficulty. 

Hellmesberger,  Georg,  vlt.  b.  Vienna, 
Apr.  24,  1800;  d.  Neuwaldegg,  near 
Vienna,  Aug.  16,  1873.  Pupil  of 
Bohm  and  Forster  at  Cons.;  teacher 
there  1821-1867,  of  Joachim,  Ernst, 
Auer,  etc.;  condr.  at  Imperial  Opera 
1829;  pensioned  1867.  His  son 
Georg,  vlt.,  compr.  b.  Vienna,  Jan. 
27,  1830;  d.  Hanover,  Nov.  12,  1852. 
Studied  comp.  with  Rotter;  concert- 
master  at  Hanover  about  1850; 
brought  out  2  operas.  His  brother 
Joseph,  vlt.,  condr.  b.  Vienna,  Nov. 
23,  1829;  d.  there,  Oct.  24,  1893. 
Infant  prodigy  as  vlt.;  vln.  prof.  1851- 
1877,  director  1851-1893  of  Cons.; 
condr.  Gesellschaft  Concerts  1851- 
59,  when  he  resigned  in  favor  of  Her- 
beck,  resuming  positioi>for  one  year 
in  1877;  concertmaster  at  Imperial 
Opera,  capellm.  to  emperor;  quartet 
concerts  1849-1887,  important  for 
arousing  interest  in  Beethoven's  quar- 
tets. His  son  Joseph,  vlt.  b.  Vienna, 
Apr.  9, 1855;  d.  there,  Apr.  26,  1907. 
Solo  player  at  opera,  prof,  at  Cons., 
leader  of  quartet  after  his  father, 
compr.  of  6  operas  and  6  ballets. 

Helmholtz  (helm-holtz),  Hermann  Lud- 
wig  Ferdinand  von,  scientist.  b. 
Potsdam,  Aug.  31,  1821;  d  Charlot- 
tenberg,  Sept.  8,  1894.  Studied 
medicine  at  Berlin,  was  prof,  of 
anatomy,  physiology  at  several  Ger- 
man Universities,  finally  1871  prof, 
of  natural  philosophy  at  Berlin; 


important  mus.  work  is  Sensations  of 
Tone  as  a  Physiological  Basis  for 
the  Theory  of  Music,  1863,  translated 
by  Ellis  1875;  by  experiments  with 
resonators,  etc.,  H.  determined  quali- 
ty of  musical  sounds,  the  value  of 
summational  tones  (the  tones  gen- 
erated by  2  notes  sounded  together), 
and  he  established  the  physiology 
of  the  minor  chord,  of  hearing  of 
musical  tones,  and  of  distribution  of 
harmonic  intervals. 

Henderson,  William  James,  critic,  b. 
Newark,  Dec.  4,  1855.  Graduated 
from  Princeton  1876;  self-taught  in 
music;  compr.  of  several  operettas; 
critic  on  N.  Y.  Times,  and  later  Sun; 
author  of  many  valuable  and  enter- 
taining books:  How  Music  Devel- 
oped; Orchestra  and  Orchestral  Music; 
Richard  Wagner;  Modern  Musical 
Drift,  etc. 

Hennes  (hen'-nes),  Aloys,  pf.  teacher, 
b.  Aix-la-Chapelle,  Sept.  8,  1827; 
d.  Berlin,  June  8,  1889.  Post-office 
official;  later  pupil  at  Rhenish 
School,  Cologne,  of  Hiller  and 
Reinecke;  taught  in  various  cities, 
after  1872  at  Berlin;  1881  teacher 
at  Scharwenka's  Cons.;  his  Klavier- 
unterrichtsbriefe  contains  bright  edu- 
cational pieces;  daughter  Therese 
(b.  Dec.  21,  1861),  successful  pst. 

Henning,  Karl,  vlt.  b.  Halberstadt, 
Feb.  26,  1807;  d.  Zeitz,  Oct.  1, 
1865.  Director  of  music  in  military 
service;  1837  city  musical  director 
in  Zeitz;  published  2  Scfiools  for  vln., 
one  for  'cello,  and  compositions  and 
teaching  pieces  for  his  instr.  His 
sonTheodor,  b.  Langensalza,  Oct.  11, 
1837.  Pupil  of  Hauptmann  and 
David;  director  city  orch.  at  Nord- 
hausen;  associated  with  father  in 
preparing  vln.  methods. 

Henschel  (hen'-shel),  [Isidor]  Georg, 
compr.,  singer,  condr.  b.  Breslau, 
Feb.  18,  1850.  Early  training  in 
music;  sang  and  played  in  public 
1862,  before  entering  Leipzig  Cons. 

1867,  where  he  studied  under  Mos- 
cheles,      Reinecke,      Richter,      and 
Goetze;     after    1870    studied    with 
Kiel  and  Schulze  at   Berlin;    sang 
in  concert  perf.  of  Die  Meistersinger 

1868,  at  Cologne  Festival  1874,  in 
England     1877     at     concerts     and 
recitals,  with  great  success;  married 


HENSEL 


HERMANN 


1881;  first  condr.  Boston  Symph. 
Orch.  1881-84;  after  that  living 
in  London,  teaching  at  Royal 
Acad.,  conducting  London  syniph. 
concerts,  etc.,  and  singing  at  impor- 
,,  tant  festivals;  composed  choral 
works  and  songs,  incidental  music  to 
Hamlet,  opera  Nubia  (Dresden 
1899),  Requiem  in  memory  of  his 
wife,  since  whose  death  he  has 
practically  retired.  His  wife  Lillian 
June  Bailey,  soprano,  b.  Columbus, 
O.,  Jan.  18,  1860;  d.  Kensington, 
London,  Nov.  4,  1901.  Pupil  of 
C.  Hay  den,  of  Mme.  Viardot,  and 
Mr.  Henschel;  extremely  success- 
ful as  singer  of  light  songs,  and, 
later,  in  concerts  with  her  husband, 
as  interpreter  of  depth  and  beauty. 

Hensel,  Fanny  Cacilia,  pst.,  compr. 
b.  Hamburg,  Nov.  14,  1805;  d. 
Berlin,  May  14,  1847.  Elder  sister 
of  Mendelssohn,  accomplished  pst., 
composer  of  several  songs,  six  of 
which  were  published  with  her 
brother's;  married  the  portrait- 
painter  Hensel  1829;  intimacy  be- 
tween brother  and  sister  was  so 
close  and  affectionate  that  shock  of 
her  sudden  death  is  said  to  have 
hastened  his. 

Henselt,  Adolf  von,  pst.  b.  Schwa- 
bach,  Bavaria,  May  12,  1814;  d. 
Warmbrunn,  Silesia,  Oct.  10,  1889. 
Pupil  of  Frau  von  Flath  at  Munich; 
assisted  by  allowance  from  King  to 
study  with  Hummel  at  Weimar  and 
with  Sechter  at  Vienna;  1838,  after 
great  success  in  Germany  at  private 
concerts  only,  owing  to  poor  health 
went  to  St.  Petersburg,  where  he 
was  musician  to  the  empress,  teacher 
of  princess,  inspector  of  mus.  edu- 
cation, etc.;  developed  strictly  le- 
gato touch  and  gained  richness  of 
sound  by  holding  down  notes  of 
arpeggios;  invented  exercises  for 
stretching  hands  over  wide-spread 
chords;  though  he  appeared  very 
rarely,  he  was  hailed  as  one  of 
greatest  players  of  his  time;  his 
compositions  are  Etudes,  difficult 
and  of  real  musical  value,  some 
minor  pieces,  and  famous  F  minor 
concerto. 

Herbeck,  Johann  Franz  von,  condr. 
b.  Vienna,  Dec.  25,  1831;  d.  there, 
Oct.  28,  1877.  Son  of  tailor,  self- 
taught,  with  exception  of  few  lessons 


in  summer  from  Rotter;  at  Vienna 
choir  director,  chorusmaster  for  2 
societies;  condr.  of  Gesellschaft  con- 
certs, court  capellm.,  1870-75  direc- 
tor at  Imperial  opera;  compr.  of 
part-songs,  church  music;  influen- 
tial as  condr.  in  bringing  out  many 
novelties. 

Herbert,  Victor,  compr.  b.  Dublin, 
Ireland,  Feb.  1,  1859.  Grandson  of 
novelist  Samuel  Lover;  educated  at 
Stuttgart  Cons.;  'cellist  in  Stutt- 
gart court  orch.;  1886  'cellist  at 
Metropolitan  Opera,  N.  Y.;  played 
at  Seidl's  concerts,  acted  as  asst. 
condr.  and  under  Thomas;  1894-98 
bandmaster  22d  Regiment;  1898- 
1904  condr.  Pittsburg  Symph.  Orch.; 
now  living  in  New  York;  has  com- 
posed 2  'cello  concertos,  Suite 
Romantique,  symph.  poems,  but  is 
chiefly  known  as  compr.  of  fluent, 
melodious,  skilfully  constructed  op- 
erettas, Serenade,  Babes  in  Toyland, 
Mile.  Modiste,  etc. 

Hering  (har-ing),  Carl  Friedrich  August, 
vlt.  b.  Berlin,  Sept.  2,  1819;  d. 
Burg,  near  Magdeburg,  Feb.  2,  1889. 
Pupil  of  Ries,  Lipinski,  and  Tomas- 
chek;  vlt.  in  Berlin  royal  chapel, 
founder  of  Sonatenverein  and  music 
school;  wrote  Methods. 

Heritte-Viardot  (e-rit'-ve-ar'-do),  Lou- 
ise Pauline  Marie,  singing  teacher. 
b.  Paris,  Dec.  14,  1841.  Daughter 
of  Louis  Viardot  and  Pauline  Garcia, 
wife  of  consul-general  Heritte; 
teacher  at  St.  Petersburg  Cons.,  at 
Hoch  Cons.,  Frankfort,  and  in 
Berlin;  composed  operas,  cantatas, 
vocal  exercises,  etc. 

Herman,  Reinhold  Ludwig,  vlt.,  compr. 
b.  Prenzlau,  Sept.  21,  1849.  Studied 
at  Stern  Cons,  with  Ehrlich,  Kiel, 
and  Stern;  taught  and  conducted 
in  N.  Y.  1871-78;  director  Stern 
Cons.  1878-81;  then  again  in  N.  Y., 
condr.  Liederkranz,  prof,  of  sacred 
history  at  Theol.  Seminary;  condr. 
Handel  and  Haydn  Soc.,  Boston, 
1898-99;  returned  to  Berlin.  Com- 
posed cantatas,  chamber  music,  etc. 

Hermann  (har-man),  Friedrich,  vlt., 
compr.,  teacher,  b.  Frankfort,  Feb. 
1,  1828;  d.  Leipzig,  Sept.  27,  1907. 
Pupil  at  Leipzig  Cons,  of  David, 
Mendelssohn  and  Hauptmann;  1846- 
75  played  viola  at  Gewandhaus  and 


HERMANN 


HESSE 


theatre  orch.;  1848  teacher  at  Cons.; 
compr.  of  symph.  and  chamber  mus., 
and  editor  Peters'  and  Augener's 
publications  of  classical  music  for 
stringed  instruments. 

Hermann,  Robert,  compr.  b.  Berne, 
Switzerland,  Apr.  29,  1869.  After 
studying  medicine  at  Geneva,  entered 
Frankfort  Cons.  1891;  left  after  few 
months;  with  encouragement  from 
Grieg,  studied  with  Humperdinck, 
and  by  himself;  1910  living  in  Leip- 
zig; compositions,  some  of  which 
on  production  in  Berlin  caused 
different  opinions,  include  symph., 
overture,  songs,  quintet,  Variations 
pour  rire,  etc. 

Herold  (e-rol'),  Louis  Joseph  Ferdi- 
nand, compr.  b.  Paris,  Jan.  28, 
1791;  d.  Themes,  a  suburb  of 
Paris,  Jan.  19,  1833.  Son  and  pupil 
of  Frangois  Joseph,  himself  a  pupil 
of  C.  P.  E.  Bach  and  pf.  teacher, 
but  early  aptitude  not  encouraged; 
1806  entered  Paris  Cons,  where  he 
was  pupil  of  Louis  Adam,  Catel 
and  M6hul;  Prix  de  Rome  1812; 
pst.  to  Queen  Caroline  at  Naples, 
where  he  brought  out  first  opera 
1815;  returned  to  Paris  1815,  met 
success  with  Les  rosieres  1817;  pst. 
and  chorusmaster  at  Italian  Opera; 
1827,  as  chef  du  chant  at  Op6ra, 
wrote  successful  ballets;  after  period 
of  instrumental  comp.  and  imitative 
operas,  returned  to  his  own  style 
with  success;  greatest  works  are 
Zampa  1831  (overture  is  universally 
familiar)  and  Le  pre  aux  clercs, 
widely  known  in  France;  his  Ludovic 
was  finished  by  HaleVy;  his  music  is 
pleasant,  graceful,  his  instrumenta- 
tion clever;  his  own  dramatic  sense, 
often  hampered  by  poor  librettos, 
was  fully  equal  to  expression  of  fine 
emotions. 

Hervey,  Arthur,  writer,  b.  Paris,  Jan. 
26,  1855.  Parents  Irish;  studied 
with  B.  Tours  and  Marlois;  aban- 
doned purpose  of  entering  diplomacy 
1880;  critic  of  Vanity  Fair  1889-92 
and  later  of  London  ( Post;  com- 
posed one-act  opera,  several  sets  of 
songs,  a  scene  for  baritone  and 
orch.  and  a  concert  overture;  wrote 
Masters  of  French  Music  (1894), 
French  Music  in  the  19th  Century 
(1904). 


Herz  (harts),  Henri,  pst.,  compr.  b. 
Vienna,  Jan.  6,  1806;  d.  Paris,  Jan.  5, 
1888.  Pupil  of  his  father,  of  Hunten, 
and  of  Pradher  and  Reicha  at  the 
Paris  Cons.;  won  1st  pf.  prize; 
followed  Moscheles'  style  of  playing; 
made  successful  tour  as  virtuoso; 
in  1842  prof,  at  Paris  Cons.; 
American  tour  1845-51;  established 
a  successful  pf.  factory;  resigned 
from  Cons.  1874;  wrote  over  200 
compositions  some  of  them  very 
successful,  because  they  catered  to 
the  popular  taste  of  the  period;  his 
experiences  during  his  American 
tour  are  described  in  Mes  voyages  en 
Amerique  (1866). 

Herzogenberg-Peccaduc  (hert-zo'-gen- 
berg  pec'-ca-dook),  Heinrich,  Baron 
von,  pst.,  compr.  b.  Graz,  June  10, 
1843;  d.  Wiesbaden,  Oct.  9,  1900. 
Studied  at  Vienna  Cons,  with 
Dessoff;  1874  founded  Bach-Verein 
in  Leipzig  with  Spitta,  Von  Holstein, 
and  Volkland;  1875  director;  1885- 
92  prof,  of  comp.  at  Berlin  Hoch- 
schule;  head  of  Meisterschule  for 
composition;  works  include  mass, 
psalms,  large  choral  works,  sympho- 
nies, chamber  mus.  (especially  vln. 
sonatas),  songs,  etc.  Married  Eliza- 
beth Stockhausen  (1848-1892),  pst. 

Hess,  Willy,  vlt.  b.  Mannheim,  July  14, 
1859.  Studied  with  father,  profes- 
sional vlt.;  1865-72  in  America; 
toured  with  Thomas  Orch.  when  9; 
1872-76  played  in  Holland,  Belgium, 
Germany,  and  France;  1876-78  pupil 
of  Joachim;  concertmaster  at  Frank- 
fort 1878,  prof,  at  Rotterdam  1886, 
leader  in  Halle  Orch.  at  Manchester 
1888;  at  Cologne  1895  as  leader  of 
Giirzenich  Orch.  and  Quartet  and 
prof,  at  Cons.;  1903  prof,  at  Royal 
Acad.  London;  1904-1907  and  1908- 
1910  concertmaster  Boston  Symph. 
Orch.;  leader  of  Boston  Symph. 
Quartet,  and  1908  of  Hess-Schroeder 
Quartet;  prof,  at  Berlin  Hochschule 
1910. 

Hesse  (hes'-sS),  Adolf  Friedrich,  orgt. 
b.  Breslau,  Aug.  30,  1809;  d.  there, 
Aug.  5,  1863.  Son  of  org.  builder; 
studied  with  Berner  and  E.  Kohler; 
stipend  granted  by  Breslau  author- 
ities enabled  him  to  visit  Leipzig, 
Kassel,  Hamburg,  Berlin,  and  Wei- 
mar; gave  concerts,  became  friend 


HEUBERGER 


HILLER 


and  pupil  of  Hummel,  Rinck,  and 
Spohr;  1827  till  time  of  death  orgt. 
at  Breslau;  director  symph.  con- 
certs there;  1844  at  Paris,  1846  in 
Italy,  and  1852  in  England;  play- 
ing won  admiration;  composed 
chamber  and  org.  mus. 

Heuberger  (hoi'-bar-ger),  Richard  Franz 
Joseph,  compr.,  crit.  b.  Graz,  Styria, 
June  18,  1850.  Civil  engineer,  de- 
voted himself  to  mus.  after  1876, 
when  he  became  choirmaster  Vienna 
Gesangverein ;  1878  condr.  Singa- 
kademie;  1881  critic  for  several 
papers;  1902  teacher  at  Cons.;  1904 
editor  Neue  Musikalische  Presse; 
composed  cantatas,  ballets,  operas, 
orchestral  works;  author  of  life  of 
Schubert. 

Hey  (hi),  Julius,  singing  teacher,  b. 
Irmelshausen,  Lower  Franconia, 
Apr.  29,  1832.  At  first  art  stu- 
dent; then  pupil  of  Lachner,  and 
Schmitt;  worked  under  Von  Biilow 
at  Munich  Sch.  of  Mus.  (established 
by  Ludwig  according  to  plans  of 
Wagner  whom  H.  admired);  after 
Von  Billow's  departure,  not  succeed- 
ing in  reform  of  German  singing, 
resigned  1883;  his  Deutscher  Gesangs- 
unterricht  expounds  Wagner's  views 
on  vocal  training;  since  1887  in 
Berlin;  many  pupils  now  on  German 
stage. 

Heymann  (hi '-man),  Carl,  pst.  b. 
Filehne,  Posen,  Oct.  6,  1854.  Son 
of  Isaac  H.,  cantor  at  several  cities; 
studied  with  Hiller,  Gernsheim, 
Breunung  at  Cologne  Cons,  and 
with  Kiel;  successful  beginnings  as 
concert  pst.  abandoned  from  ill 
health;  mus.  director  Bingen,  court 
pst.  Hesse;  1877-80  teacher  at 
Hoch  Cons.,  Frankfort;  has  ap- 
peared since  as  virtuoso,  though  ill 
health  persists;  composed  mus.  for 
pf.  brilliant  but  not  empty;  Mac- 
Dowell  among  pupils. 

Hildach  (hil-dak),  Eugen,  baritone,  b. 
Wittenberge-am-Elbe,  Nov.  20, 1849. 
First  vocal  lessons  at  24;  studied 
with  Frau  El.  Dreyschock  at  Berlin; 
married  fellow-pupil  Anna  Schubert, 
mezzo  soprano  (b.  1852) ;  both  taught 
at  Dresden  Conservatory,  1880-86; 
since  then  devoted  to  concert  sing- 
ing; composed  attractive  songs  and 
duets. 


Hiles,  Henry,  compr.,  writer,  b.  Shrews- 
bury, Dec.  31,  1826;  d.  Worthing, 
Oct.  20,  1904.  Held  several  ap- 
pointments as  orgt.,  finally  St. 
Paul's,  Manchester;  Mus.  Doc. 
1867;  lecturer  on  harmony,  etc.  at 
Owens  Coll.  and  Victoria  Univ., 
later  at  Manchester  Coll.  of  Mus.; 
1885-88  editor  Quarterly  Mus.  Re- 
view; composed  anthems,  services, 
2  oratorios,  3  cantatas;  wrote 
Grammar  of  Music  and  several 
works  on  harmony. 

Hilf,  Arno,  vlt.  b.  Bad  Elster,  Saxony, 
Mar.  14,  1858;  d.  Aug.  2,  1909,  at 
Bad  Elster.  Lessons  from  father, 
Wilhelm  Christoph,  and  from  David, 
Rontgen,  and  Schradieck  at  Leipzig 
Cons.;  1878-88  teacher  at  Moscow 
Cons.,  1888  at  Sondershausen;  1889- 
1891  leader  of  Gewandhaus  Oreh., 
Leipzig,  and  of  quartet;  1892  1st  vln. 
teacher  Leipzig  Cons. 

Hill,  Junius  Welch,  pst.  b.  Hingham, 
Mass.,  Nov.  18,  1840.  Pupil  of 
J.  C.  D.  Parker  in  Boston,  and  of 
Moscheles,  Hauptmann,  Reinecke, 
etc.,  at  Leipzig  Cons.;  orgt.  at 
various  Boston  churches;  prof,  of 
mus.  at  Wellesley  College  1884-97; 
teacher  in  Boston;  retired,  removing 
to  Los  Angeles;  composed  some 
choruses  and  pf .  pieces. 

Hille  (hil'-la),  Gustav,  vlt.  b.  Jerichow- 
am-Elbe,  May  31,  1851.  Pupil  of 
Wuerst  and  Joachim;  1879  member 
Mendelssohn  Quintet  Club,  Boston, 
with  which  he  toured  9  months; 
then  at  Philadelphia  Mus.  Acad.; 
later  co-dir.  of  Leefson-Hille  Cons., 
Philadelphia;  1910  returned  to  Ger- 
many; composed  concertos  and 
solos  for  vln. 

Hiller,  Ferdinand  von,  compr.  b. 
Frankfort,  Oct.  24,  1811;  d.  Co- 
logne, May  10,  1885.  Of  wealthy 
Jewish  family;  pupil  of  Hofmann, 
Schmitt,  and  Vollweiler,  later  of 
Hummel;  played  in  public  at  10; 
at  15  in  Vienna  with  Hummel;  saw 
Beethoven  on  his  death-bed;  in 
Paris  1828-35  teaching,  part  of  the 
time  at  Choron's  school,  giving  con- 
certs with  Fe"tis  and  Baillot;  1836 
conducted  Cacilienverein,  Frank- 
fort; 1839,  aided  by  Rossini,  brought 
out  opera  at  Milan;  1840  invited 
by  Mendelssohn  to  superintend 


HILLER 


HOFFMAN 


oratorio  Die  Zerstorung  Jerusalems 
in  Leipzig;  1841  studied  church 
music  with  Baini;  1843-44  conducted 
at  Gewandhaus;  1847  capellm.  at 
Dusseldorf;  1850  at  Cologne  where 
he  organized  Cons.;  conducted 
Giirzemch  concerts  and  festivals; 
1852-53  conducted  Op6ra  Italien  at 
Paris;  1884  retired;  over  200  com- 
positions, 6  operas,  6  cantatas, 
much  choral  and  instrumental  mus.; 
lectured  and  wrote  articles  about 
the  many  great  men  whose  lives  his 
touched:  Erinnerungsbldtter  (1884). 

Killer,  Johann  Adam  [real  name  Hiiller], 
compr.  b.  Wendisch-Ossig,  near 
Gorlitz,  Dec.  25,  1728;  d.  Leipzig, 
June  16,  1804.  Pupil  of  Homilius 
at  Dresden;  while  at  Leipzig  Univ. 
gave  music  lessons,  played  flute,  and 
sang;  1758  went  as  tutor  to  Leipzig, 
where  he  revived  Subscription  Con- 
certs and  developed  them  into  Ge- 
wandhaus Concerts  which  he  con- 
ducted; 1771  founded  school  of 
singing;  1789-1801  mus.  dir.  at 
Thomasschule;  inventor  of  Singspiel, 
German  form  of  short  comedy 
operetta,  of  which  he  wrote  13 
(Lottchen  am  Hofe,  Der  Dorfbarbier, 
etc.);  also  composed  church  music 
and  wrote  several  historical  and 
instructive  works. 

Hiller,  Paul,  orgt.  b.  Seifersdorf,  Nov. 
16,  1830.  Orgt.  at  Breslau  since 
1870;  compr.  of  pf.  pieces,  songs,  etc. 

Himmel,  Friedrich  Heinrich,  pst., 
compr.  b.  Treuenbrietzen,  Branden- 
burg, Nov.  20,  1765;  d.  Berlin, 
June  8,  1814.  When  student  of 
theology  at  Halle,  fine  pf.  playing 
won  him  patronage  of  Frederick 
Wm.  II,  who  sent  him  to  Dresden 
for  3  years'  study  with  Naumann, 
and  to  Italy  for  2  years  more;  made 
him  chamber  compr.  and  court  cap- 
ellm.; traveled  to  Stockholm,  St. 
Petersburg,  France,  and  England; 
retired  to  Pyrmont  1806;  composed 
several  occasional  cantatas,  etc.; 
several  very  popular  operas  (Fan- 
chon  das -Leyermadchen  is  the  best), 
many  songs,  etc.,  melodious  and  well- 
written,  now  obsolete. 

Hinckley,  Allen,  opera  basso,  b.  Bos- 
ton, Oct.  11,  1877.  Father  a  min- 
ister; student  at  Amherst  College 
and  University  of  Pennsylvania; 


musical  education  begun  in  Phila- 
delphia where  he  sang  in  several 
churches;  with  the  encouragement 
of  Walter  Damrosch  he  took  up 
serious  work  with  Oscar  Saenger  in 
New  York;  his  professional  debut 
was  at  Hamburg,  Germany,  where 
he  remained  until  engaged  for  the 
Metropolitan  Opera  Company  in 
1908;  sang  several  seasons  at  Covent 
Garden,  London,  and  at  Bayreuth, 
being  recommended  by  HansRichter; 
a  member  of  the  Metropolitan  Opera 
Company. 

Hinton,  Arthur,  compr.  b.  Beckenham, 
Kent,  Nov.  20,  1869.  Studied  at 
Royal  Acad.  with  Sainton,  Sauret, 
and  Davenport;  sub-prof,  of  vln.; 
further  study  with  Rheinberger  in 
Munich;  condr.  theatre  orch.  in 
London,  etc.;  composed  opera,  orch. 
fantasia,  2  scenes  from  Endymion, 
2  symphonies,  pf.  sonata,  concerto, 
etc.  Married  Katherine  Goodson,  pst. 

Hipkins,  Alfred  James,  lecturer,  writer. 
b.  Westminster,  June  17,  1826;  d. 
Kensington,  June  3,  1903.  From 
1840  to  death  in  pf.  business  with 
Broadwood  &  Sons;  always  tuned 
pianos  for  Chopin  in  England; 
authority  on  history  of  pf.;  reviver 
of  interest  in  harpsichord  and  clavi- 
chord, on  both  of  which  he  played; 
also  authority  on  scientific  matters 
of  temperament  and  pitch;  inter- 
esting lecturer,  contributor  to  Ency- 
clopaedia Britannica,  Grove's  Diction- 
ary, author  of  Musical  Instruments, 
History  of  the  Pianoforte,  etc. 

Hirsch  (hersh),  Carl,  compr.  b.  Wend- 
ing, Mar.  17,  1858.  After  studying 
in  Munich,  held  various  positions 
as  teacher,  cantor,  etc.;  director  at 
Mannheim,  Cologne,  and  of  several 
societies  at  Elberfeld;  compr.  of 
many  very  popular  choruses,  chiefly 
a  cappella,  and  of  cantatas.  Die 
Krone  im  Rhein,  Landsknechtsleben, 
etc. 

Hobrecht,  see  Obrecht,  Jacob. 

Hoffman,  Richard,  pst.  b.  Manchester, 
Eng.,  May  24,  1831;  d.  Aug.  17, 
1909.  Pupil  of  father,  De  Meyer, 
Moscheles,  Rubinstein,  Thalberg, 
and  Liszt;  came  to  New  York  1847; 
toured  U.  S.  with  Burke,  vlt.  1848; 
solo  pst.  with  Jenny  Lind;  played 


HOFFMANN 


HOLLANDER 


with  Gottschalk  and  Von  Btilow; 
remarkable  as  teacher;  noteworthy 
as  compr.  of  about  100  songs,  pf. 
pieces,  etc. 

Hoffmann,  Ernst  Theodor  [Amadeus] 
Wilhelm,  writer,  compr.  b.  Konigs- 
berg,  Jan.  24,  1776;  d.  Berlin,  June 
25,  1822.  Studied  music  with 
Podbielski  while  law  student;  trans- 
ferred from  position  of  assessor  at 
Posen  because  of  caricatures;  1806 
reduced  by  war,  gave  music  lessons 
in  Warsaw;  theatre  director  Bam- 
berg  1808;  1810  wrote  articles  to 
Allgemeine  Musikzeitung  over  name 
"Kapellmeister  Kreisler";  condr. 
at  Leipzig  and  Dresden  1813-14; 
from  1816  to  death  held  judicial 
position  in  Berlin;  composed  several 
operas  (Scherz,  List,  und  Roche  to 
Goethe's  words,  Undine  his  best), 
a  symph.,  chamber  mus.;  known  in 
literature  as  writer  of  fantastic  tales. 

Hofmann,  Heinrich  [Carl  Johann], 
compr.  b.  Berlin,  Jan.  13,  1842;  d. 
Gross  Tabarz,  July  16, 1902.  Studied 
at  Kullak's  Acad.  with  Grell,  Dehn, 
and  Wuerst;  successful  pf.  player 
and  teacher;  devoted  to  composition 
after  1869,  when  first  opera  was 
successful;  wrote  7  operas,  many 
cantatas,  orch.  works,  notably  Un- 
garischen  suite  and  Frithjof  symph. 
beautiful  pf.  duets,  etc. 

Hofmann,  Josef  Casimir,  pst.  b.  Cra- 
cow, Jan.  20,  1876.  Son  of  capell- 
meister  and  operetta  composer;  pupil 
of  father;  appeared  as  prodigy  in 
Germany  and  America  1885-87;  pre- 
vented by  Soc.  for  Prevention  of 
Cruelty  to  Children  from  giving 
more  concerts,  he  pursued  studies 
in  Berlin  under  Urban  and  Moszkow- 
ski  and  under  Anton  Rubinstein  in 
Dresden;  1897  resumed  life  of  travel- 
ing virtuoso  and  has  appeared  with 
success  in  many  lands;  has  composed 
concerto  and  some  pf.  pieces;  striking 
qualities  of  his  playing  are  keen 
intelligence,  transparent  interpreta- 
tion made  possible  by  amazing  tech- 
nical skill,  and  total  lack  of  morbid- 
ness. 

Hoi,  Richard,  orgt.,  compr.  b.  Am- 
sterdam, July  23,  1825;  d.  Utrecht, 
May  14,  1904.  Studied  with  Mar- 
tens and  Bertelman;  traveled  in 
Germany;  director  choral  soc.  at 


Amsterdam,  and  director  of  Society 
for  Promotion  of  Music;  1862  city 
orgt.  at  Utrecht,  later  cathedral  orgt. 
and  director  of  music  school;  condr. 
at  The  Hague  and  Amsterdam ;  com- 
posed church  music,  2  symphonies, 
orch.  music,  cantatas,  etc. 

Holbrooke,  Josef  Charles,  compr.  b. 
Croydon,  July  6,  1878.  Pupil  at 
Royal  Acad.  of  F.  Cprder  and  West- 
lake;  since  1898  entirely  devoted  to 
composition,  chiefly  of  orchestral 
works  in  form  of  free  symphonic 
poems,  on  such  subjects  as  The 
Raven,  The  Masque  of  the  Red  Death, 
Fantastic  Variations;  large  choral 
work  The  Bells,  Birmingham  Festi- 
val 1907,  with  actual  bells,  etc.,  in 
orchestra  excited  discussion. 

Holden,  Oliver,  compr.  b.  Shirley, 
Mass.,  Sept.  18,  1765;  d.  Charles- 
town,  Sept.  4,  1844.  At  first  a  car- 
penter; began  to  write  music  about 
time  of  moving  to  Charlestown, 
1787;  trained  choir  to  sing  Ode  to 
Washington  1789;  after  1792  con- 
ducted music  store,  published  and 
composed  music;  first  collection 
America's  Harmony;  in  Union  Har- 
mony 1793  first  appeared  Coronation, 
most  famous  tune. 

Hollander  (hol'-lender),  Alexis,  pst. 
b.  Ratibor,  Silesia,  Feb.  25,  1840. 
Studied  with  Schnabel  and  Hesse  at 
Breslau,  with  Grell  and  A.  W.  Bach 
at  Berlin  Royal  Acad.,  and  with 
Bohmer;  instructor  at  Kullak's  Acad. 
1861;  condr.  Cacilienverein  1864; 
composed  chamber  music,  duets, 
choral  and  pf.  works  (6  Intermezzi 
for  left  hand,  etc.);  edited  Schu- 
mann's pianoforte  works  and  pub- 
lished method  for  the  voice. 

Hollander,  Gustav,  vlt.  b.  Leobschutz, 
Upper  Silesia,  Feb.  15,  1855.  Early 
public  appearance  as  pupil  of  father 
a  physician;  studied  1867-69  at  Leip- 
zig Cons,  with  David  and  1869-74 
at  Berlin  Hochschule  with  Joachim 
and  Kiel;  1874  principal  teacher  at 
Kullak's  Acad.;  gave  concerts  with 
Carlotta  Patti,  with  Scharwenka 
and  Griinfeld;  1881  at  Cologne, 
leader  of  Giirzenich  concerts  and 
teacher  at  Cons.;  1895  director 
Stern  Cons.  Berlin;  1896  concert- 
master  at  Hamburg;  successful  tours 
on  Continent;  works  chiefly  for  vln. 


HOLLINS 


HORNEMAN 


Hollins,  Alfred,  orgt.,  pst.  b.  Hull, 
Sept.  11,  1865.  Totally  blind;  edu- 
cated at  Wilberforce  Institution  at 
York,  at  Royal  Normal  College,  Nor- 
wood, where  he  took  pf .  lessons  from 
Hartyigson  and  org.  from  E.  J. 
Hopkins;  studied  with  Von  Billow 
at  Berlin;  after  several  distinguished 
appearances,  visited  U.  S.  with  F. 
J.  Campbell  in  1886  and  again  1888; 
held  various  appointments  as  orgt., 
finally  at  Edinburgh;  concerts  in 
Australia  1904;  has  composed  an- 
thems, org.  pieces,  a  few  songs  and 
piano  pieces. 

Hollmann,  Joseph,  'cellist,  b.  Maas- 
tricht, Holland,  Oct.  16,  1852.  Pupil 
of  Keller;  under  patronage  of  king 
at  Brussels  Cons,  as  pupil  of  Servais, 
Boisselet,  and  F6tis,  winning  1st 
prize;  at  Paris  pupil  of  Jacquard  and 
Savart;  toured  Scandinavia  and 
Germany  with  Strakosch  and  Ulman, 
U.  S.  with  Wolff  1892  and  1906; 
numerous  compositions  for  his  in- 
strument. 

Holmes  (ol'-mez),  [originally  Holmes], 
Augusta  Mary  Anne,  compr.  b. 
Paris,  Dec.  16,  1847;  d.  there,  Jan. 
28,  1903.  Of  Irish  parentage;  early 
appearance  as  pst.;  first  comp.  under 
name  Hermann  Zenta;  studied  comp. 
with  Lambert,  instrumentation  with 
Klos<§;  after  1875  pupil  of  C£sar 
Franck;  gained  2d  place  in  compe- 
tition for  city  of  Paris  prize  in  1878 
with  Lutece,  and  honorable  mention 
in  1880  with  Les  argonautes;  com- 
posed other  symphonic  poems  (Ir- 
lande,  Polognej,  several  odes  (Ludus 
pro  patria,  Hymne  a  la  paix),  opera 
La  montagne  noire  (Grand  Ope>a, 
Paris  1895);  often  wrote  words  for 
own  music;  showed  "  force  rather 
than  grace,  vigor  rather  than  deli- 
cacy, rare  sentiment  for  melody, 
breadth  of  phrase,  care  for  form; 
individuality  of  idea  above  most 
women."  [Pougin.] 

Hoist,  Eduard,  compr.  b.  Copenhagen, 
1843;  d.  New  York,  Feb.  4,  1899. 
Came  to  New  York  about  1874; 
actor,  playwright,  teacher  of  dancing, 
composer  of  comic  opera  Our  Flats, 
music  for  military  band  Battle  of 
Manila,  etc.,  and  much  music  for  pf. 
of  the  sort  suggested  by  such  titles 
as  Dance  of  Demons,  etc. 


Homer,  Sidney,  compr.  b.  Boston, 
Mass.,  Sept.  9,  1864.  Studied  with 
Chadwick  in  Boston  and  with  Rhein- 
berger,  Abel,  etc.  in  Munich;  taught 
harmony  and  lectured  on  sympho- 
nies, Wagner  operas,  etc.  in  Boston; 
composed  songs;  1895  married  Louise 
Dillworth  Beatty,  dram,  contralto. 
b.  Pittsburg.  Pupil  of  Misses  Whin- 
nery  and  Groff  in  Phila.,  of  W.  L. 
Whitney  and  S.  Homer  in  Boston, 
and  after  marriage,  of  Konig  and 
Lhdrie  in  Paris;  debut  at  Vichy  1898; 
London  1899,  American  de"but  San 
Francisco  1900;  member  of  Metro- 
politan Opera  Co.,  N.  Y.  since  1900. 

Hood,  Helen,  compr.  b.  Chelsea,  Mass., 
June  28,  1863.  Pupil  of  B.  J.  Lang, 
Chadwick,  and  in  Berlin  of  Moszkow- 
ski;  living  in  Boston;  composed 
songs,  sacred  and  secular,  works  for 
vln.  and  pf.,  trio  for  vln.,  'cello  and  pf . 

Hopekkk,  Helen,  pst.  b.  Edinburgh, 
May  20,  1856.  Studied  with  Lich- 
tenstein  and  A.  C.  Mackenzie,  and 
after  2  years  at  Leipzig,  with  Lesche- 
tizky  at  Vienna;  debut  Gewandhaus, 
Leipzig,  1878;  after  successful  con- 
certs in  London  1879  and  later  in 
Boston  and  New  York  1883  and 
1890,  in  Edinburgh  and  Vienna  1887 
(where  she  studied  composition  with 
Navratil  and  orchestration  with 
Mandl),  settled  in  Boston  1897;  mar- 
ried W.  Wilson;  successful  teacher; 
gives  occasional  interesting  recitals; 
has  composed,  beside  songs  and  pf. 
pieces,  pf.  concerto  and  Concertstuck 
for  pf.  and  orch.,  other  orch.  works, 
vln.  sonata,  etc. 

Hopkins,  Edward  John,  orgt.,  compr. 
b.  Westminster,  June  30,  1818;  d. 
London,  Feb.  4,  1901.  Chorister 
at  Chapel  Royal  under  Hawes;  pupil 
of  Walmisley  in  harm,  and  counter- 
point, but  self-taught  as  orgt.;  vari- 
ous appointments  as  orgt.,  finally 
1843-1898  at  Temple  Church,  Lon- 
don, where  he  raised  music  to  very 
high  point;  composed  excellent  an- 
thems, edited  madrigals,  wrote  The 
Organ,  Its  History  and  Construction. 

Horneman  (hor'-ne-man),  Johan  Ole 
Emil,  compr.  b.  Copenhagen,  May 
13,  1809;  d.  there,  May  29,  1870. 
Compr.  of  stirring  songs:  Der  Tapf- 
ere  Landsoldat  and  King  Christian 


HORVATH 


HULLAH 


Stood  by  Lofty  Mast  (naval  song 
which  first  appeared  in  Hartmann's 
opera  Fiskerne  1775)  are  national 
songs. 

Horvath  (hor-vat),  Geza,  compr.  b. 
Komaron,  Hungary,  May  27,  1868. 
Pupil  of  L.  Schytte,  etc.,  at  Vienna; 
director  of  music  school  there; 
librarian  of  ass'n  of  music  school 
proprietors;  published  over  60  easy 
pf.  pieces. 

Howard,  George  H.,  teacher,  b.  Norton, 
Mass.,  Nov.  12,  1843.  Studied  with 
J.  W.  Tufts  and  B.  F.  Baker  at  Bost. 
Mus.  School,  with  Moscheles,  Pap- 
peri  tz,  etc.  at  Leipzig  Cons.,  with 
Haupt  and  Kullak  in  Berlin;  taught 
at  Boston  Mus.  School,  at  Michigan 
Cons,  at  Olivet,  and  at  N.  E.  Cons.; 
1891  organized  Boston  School  for 
Teachers  of  Music  of  which  he  is 
director;  able  teacher  and  lecturer. 

Hoyte,  William  Stevenson,  orgt.,  compr. 
b.  Sidmouth,  Sept.  22,  1844.  Pupil 
of  Goss  and  Cooper;  orgt.  in  various 
London  churches,  finally  at  All 
Saints'  since  1868;  successful  recitals 
both  as  orgt.  and  pst.  in  London  and 
Scotland;  prof,  of  org.  at  Royal  Coll. 
since  1888,  at  Royal  Acad.  1893,  of 
pf.  at  Guildhall;  composed  Book  of 
Litanies,  choral  wedding  service, 
church  and  organ  music. 

Hubay  (ho-bi),  Jeno  [known  as 
Eugene  Huber],  vlt.,  compr.  b. 
Budapest,  Sept.  14,  1858.  Pupil  of 
father  Carl  (1828-1885),  professor 
at  Pesth  Cons.;  appeared  as  prodigy 
at  11;  with  stipend  from  state, 
studied  5  years  with  Joachim ;  success 
at  Pasdeloup  concerts  in  Paris  1878 
led  to  friendship  with  Vieuxtemps; 
1882  prof,  at  Brussels  Cons.;  1886 
succeeded  father  at  Pesth;  widely 
praised  as  soloist  and  quartet  player; 
compr.  of  successful  opera  Luthier 
de  Cremone,  concertos,  sonatas,  and 
pieces  for  vln.  of  which  Scenes  from 
the  Czardas  are  universally  popular. 

Huber  (ho-ber),  Hans,  compr.  b. 
Schonewerd,  Switzerland,  June  28, 
1852.  Pupil  at  Leipzig  Cons,  of 
Richter,  Reinecke,  etc.;  taught  at 
Alsace,  then  at  Basle  nius.  school, 
of  which  he  became  director  1896; 
his  works  include  operas  (Kudrun, 
Der  Simplicius,  etc.),  cantatas,  con- 
certos, sonatas  and  smaller  works, 


and  3  symphonies,  No.  1  Tell  symph. 
and  No.  2  celebrating  the  paintings 
of  Bocklin. 

Hucbald  [or  Hugbaldus,  Ubaldus,  etc.], 
writer,  b.  about  830;  d.  St.  Amand, 
near  Tournay,  June  25  (or  Oct.  21), 
930  (or  June  20,  932).  Ordained 
priest  880;  pupil  of  uncle,  director 
of  school  at  Nevers;  probably  author 
of  treatises  De  harmonica  institu- 
tions, Musica  enchiriadis,  etc.,  though 
doubts  have  been  cast  on  fact  of  his 
authorship;  writings  give  earliest 
clear  statement  of  the  beginnings  of 
music  for  several  voices;  originated 
idea  of  representing  the  rise  and  fall 
of  tones  by  marks  placed  between 
lines,  beginning  of  notation. 

Hue  (u),  George  Adolphe,  compr.  b. 
Versailles,  May  6,  1858.  Pupil  at 
Paris  Conservatory  of  Reber  and 
Paladilhe,  prizes  in  1879,  1881,  1885; 
compositions  include  orchestral,  ope- 
ratic and  choral  works,  and  songs. 

Hueffer  (heffer),  Francis,  writer,  b. 
Munster,  May  22,  1843;  d.  London, 
Jan.  19,  1889.  Student  of  philology 
and  music  in  London,  Berlin,  Leip- 
zig, and  Paris;  Ph.D.  from  Gottingen; 
settled  1869  in  London  where  he  was 
critic  on  Times,  editor  of  Academy; 
assisted  English  opera  by  writing 
librettos  for  Mackenzie  and  Cowen; 
greatly  furthered  cause  of  Wagner 
in  England  by  articles,  by  Life  of 
Wagner  and  by  translation  of  Letters 
of  Wagner  and  Liszt;  wrote  many 
vols.  in  Great  Musicians  Series, 
studies  on  music  of  the  troubadours, 
etc. 

Huhn  (hune),  Bruno  [Siegfried],  pst. 
b.  London,  1871.  Pupil  of  Miss  S. 
Taunton;  toured  Great  Britain,  then 
in  1889  Spain,  Egypt  and  Australia; 
1891  in  New  York,  further  study 
with  S.  B.  Mills  and  Alberti;  played 
there  1896;  self-taught  orgt.,  has 
held  various  positions  in  N.  Y.;  re- 
markable as  accompanist;  compr.  of 
songs,  church  and  pf.  music. 

Hullah  (hul-la),  John  Pyke,  teacher, 
writer,  b.  Worcester,  Eng.,  June  27, 
1812;  d.  Westminster,  Feb.  21,  1884. 
Studied  with  Horsley  and  Crivelli; 
comp.  several  successful  operas, 
Barbers  of  Bassora  1837,  etc.;  after 
observing  Wilhem's  classes  in  Paris 
in  1830,  he  started  (1841)  popular 


HUGHES 


HUMPERDINCK 


classes  for  schoolmasters  and  others 
by  system  of  vocal  music  adapted 
from  Wilhem's;  these  classes,  though 
bitterly  opposed,  were  attended  by 
about  25,000  people;  1844-74  prof, 
of  vocal  music,  King's  Coll.,  London; 
1870-73  condr.  Royal  Acad.  stu- 
dents' concerts;  1858  orgt.  at  Char- 
ter House;  composed  many  charming 
songs  (Oh  that  we  two  were  May- 
ing, The  Three  Fishers,  etc.),  ele- 
mentary text-books,  and  accounts 
of  his  method;  The  History  of  Mod- 
ern Music,  Transition  Period  of 
Musical  History. 

Hughes,  Rupert,  author,  compr.  b. 
Lancaster,  Mo.,  Jan.  31,  1872. 
Father  and  mother  were  well-trained 
musical  amateurs;  brother,  Felix 
Hughes,  a  teacher  of  singing,  Cleve- 
land, O.;  sister  (Mrs.  Herbert 
Witherspoon)  sang  professionally  in 
Europe  under  the  name  Jeanne 
Grela.  H.  showed  early  aptitude 
for  music  by  skill  in  reading  music 
at  sight  and  at  ten  made  his  first 
efforts  at  composition,  first  published 
pieces  being  issued  while  he  was  in 
college;  studied  music  with  Wilson 
G.  Smith  at  Cleveland,  Edgar  Still- 
man  Kelley,  New  York,  and  Charles 
W.  Pearce,  London;  but  most  of  his 
theoretical  studies  have  been  self- 
directed;  graduated  from  Western 
Reserve  University  (A.B.)  and  at 
Yale  (A.M.);  connected  editorially 
with  New  York  and  London  papers 
and  magazines,  but  later  devoting 
his  time  to  the  writing  of  plays, 
books,  magazine  articles  and  short 
stories;  published  works  are  Zal,  a 
musical  novel;  The  Musical  Guide, 
(encyclopaedia);  The  Love  Affairs 
of  Great  Musicians;  Famous  Ameri- 
can Composers;  editor  of  Songs  of 
Thirty  Americans  (Musicians  Libra- 
ry) ;  published  compositions  consist  of 
a  few  songs;  lives  in  New  York  City. 

Humfrey  [or  Humphry  or  Humphrys], 
Pelham,  compr.  b.  London,  1647; 
d.  Windsor,  July  14,  1674.  Chorister 
at  Chapel  Royal;  sent  abroad  by 
Charles  II  to  study  under  Lully; 
1672  master  of  children  at  Chapel 
Royal  and  compr.  to  king;  composed 
some  fine  songs,  church  music  in 
new  style  learned  in  France;  said 
to  have  been  excellent  lute  player; 
fondness  for  minor  keys  is  remarkable . 


Hummel  (hoom-mel),  Johann  Nepo- 
muk,  pst.,  compr.  b.  Pressburg, 
Hungary,  Nov.  14,  1778;  d.  Weimar. 
Oct.  17,  1837.  Son  and  pupil  of 
Joseph  H.,  director  of  Imperial 
school  of  military  music,  and  later 
condr.  at  Vienna;  there  Johann 
attracted  attention  of  Mozart  who 
took  him  into  his  house  as  pupil  for 
2  years;  debut  at  concert  given  by 
Mozart  in  Dresden  1787;  after  tour 
with  father  through  Great  Britain 
(where  he  took  some  lessons  of 
Clementi  in  London)  and  Denmark, 
studied  further  in  Vienna  with 
Albrechtsberger,  with  advice  from 
Haydn  and  Salieri;  1804-11  suc- 
cessor of  Haydn  as  capellm.  to 
Prince  Esterhazy;  1816  court  capellm. 
at  Stuttgart,  1819  at  Weimar;  in 
frequent  leaves  of  absence  visited 
St.  Petersburg,  Paris,  and  London, 
where  he  conducted  German  opera 
co.  for  season  of  1833.  Composed 
127  works,  of  which  some  concertos, 
rondos,  sonatas,  a  nonet,  and  a  mass 
are  still  played;  teacher  of  Czerny, 
Henselt,  and  Thalberg;  successful 
everywhere  as  performer  and  inter- 
preter, especially  noted  for  extem- 
Eore  playing,  in  which  he  is  said  to 
ave  excelled  Beethoven;  is  variously 
said  to  stand  between  old  school  of 
tradition  and  new  one  of  virtuosity, 
and  to  have  founded  the  new  by  his 
delight  in  execution,  his  pleasure  in 
"  orchestral  "  effects,  and  self-con- 
scious effort;  his  method  was  of 
value,  but  is  now  out  of  date. 

Humperdinck,  Engelbert,  compr.  b. 
Siegburg,  near  Bonn,  Sept.  1,  1854. 
Student  of  F.  Hiller  at  Cologne  Cons, 
where  he  won  Mozart  Stipend  which 
enabled  him  to  go  to  Munich;  there 
he  studied  with  Lachner  and  Rhein- 
berger;  winning  the  Mendelssohn 
Prize  in  Berlin,  he  went  1879  to 
Italy;  met  Wagner  at  Naples,  fol- 
lowed him  to  Bayreuth  and  assisted 
in  production  of  Parsifal  1881; 
Meyerbeer  Prize  1881  enabled  him 
to  go  to  Italy;  taught  in  Barcelona 
Cons.;  in  Cologne  Cons.,  at  Hoch 
Cons,  in  Frankfort  and  in  Stock- 
hausen's  school;  musical  critic  for 
Zeitung;  retired  to  Boppard  1896; 
1900  head  of  Meisterschule  for 
comp.  in  Berlin;  Humoreske  for 
orch.  in  1880  attracted  attention, 


HUNEKER 


d'INDY 


maintained  by  other  orch.  works 
(Maurische  Rhapsodic) ,  choral  works 
Das  Gliick  von  Edenhall,  etc.,  opera 
Hansel  und  Gretel  (Weimar  1893, 
and  since  then  heard  nearly  every- 
where); in  this  charming  fairy-tale 
opera  H.  shows  himself  a  follower 
of  Wagner  in  choice  of  subject,  in 
use  of  characteristic  themes  reveal- 
ing the  motives  and  thoughts  of  the 
characters,  all  handled  with  extreme 
deftness;  later  operas  Dornroschen 
and  Die  Konigskinder  have  not 
been  equally  successful. 

Huneker,  James  Gibbons,  critic,  b. 
Philadelphia,  Jan.  31,  1860.  Pupil 
of  Michael  Cross  and  in  Paris  of 
Th.  Ritter  and  Doutreleau;  settled 
in  New  York  1888;  teacher  at  Na- 
tional Cons.;  writer  for  Musical 
Courier,  dramatic  critic  N.  Y.  Sun 
1902-1906;  author  of  Mezzotints  in 
Modern  Music,  Life  of  Chopin  and 
collection  of  stories  on  musical 
themes,  Melomaniacs,  Visionaries, 
etc.  - 

Hiinten  (tin-ten'),  Franz,  pst.  b.  Co- 
blenz,  Dec.  26, 1793;  d.  there,  Feb.  22, 
1878.  Studied  with  his  father  (orgt.), 
at  Paris  Cons,  with  Pradher,  Cheru- 
bim, and  Reicha,  but  took  no  prizes; 
became  fashionable  composer  and 
teacher  in  Paris;  1836  removed  to 
Coblenz;  pf.  works,  fantasias,  sere- 
nades, etc.  commanded  amazing 
prices  but  are  now  practically  un- 
known; wrote  also  method  for  pf. 


Huss  (hoos),  Henry  Holden,  pst.,  compr. 
b.  Newark,  N.  J.,  June  21,  1862. 
Studied  with  father,  with  O.  B. 
Boise  and  at  Munich  Cons,  with 
Rheinberger;  1889  gave  concert  of 
own  works  in  New  York,  where  he 
lives,  as  teacher  and  compr.;  has 
written  Death  of  Cleopatra  (soprano 
and  orch.),  Seven  Ages  of  Man  (bari- 
tone and  orch.),  vln.  concerto,  and 
pf.  concerto,  trio,  sonatas. 

Hiittenbrenner  (hu-ten-bren-ner),  An- 
selm,  pst.  b.  Graz,  Styria,  Oct.  13, 
1794;  d.  Ober-Andritz,  near  Graz, 
June  5, 1868.  From  early  years  stud- 
ied singing,  pf.,  and  harmony  with 
Grell;  studied  law  in  Vienna  in  1815, 
and  composition  with  Salieri;  fellow 
pupil  of  Schubert,  intimate  of  Beetho- 
ven; from  1816  to  retirement  in  1820 
successful  as  pst. ;  1852  condr.  Styrian 
Musikverein;  prolific  compr.,  9  mass- 
es, 3  symphonies,  over  500  songs. 

Hyllested,  August,  pst. ,  compr.  b .  Stock- 
holm, June  17,  1858.  Early  appear- 
ances as  pst.  1863,  1869;  pupil  of 
Dahl,  and  at  Royal  Cons,  at  Copen- 
hagen of  Neupert,  Hartmann,  Gade, 
etc.;  1875-76  director  of  orch.  and  of 
mus.  soc.;  further  study  with  Kiel, 
Kullak,  and  Liszt;  concerts  in  Eng- 
land, in  New  York  1885;  1886-91 
asst.  dir.  Chicago  Mus.  Coll.,  1891-94 
director  in  Gottschalk  Lyric  School; 
after  further  tours  in  Scandinavia, 
returned  to  Chicago  1897 ;  composed 
for  pf.,  orch.,  and  songs. 


niffe,  Frederick,  orgt.,  condr.  b. 
Smeeton-Westerby,  Leicestershire, 
Feb.  21,  1847.  1883  orgt.  St.  John's 
Coll.,  Oxford;  condr.  Queen's  Coll. 
Mus.  Soc.;  composed  oratorio  Vis- 
ions of  St.  John  the  Divine,  services, 
overtures,  etc. 

Djinsky  (il-yin-sky) ,  Alexander  Alex- 
androvitch,  compr.  b.  Tsarskoye- 
Selo,  Jan.  24, 1859!  Studied  at  Berlin 
with  Kullak  and  Bargiel;  1885  pro- 
fessor at  Philharmonic  Soc.  music 
school,  Moscow;  composed  3  orch. 
suites,  symphony,  music  to  Oedipus 
Rex  and  to  Tolstoi's  Tsar  Feodor, 
2  cantatas,  one  opera,  pf .  pieces,  and 
songs. 


Imbert  (an-bar)  de  la  Tour,  Jean  Bap- 
tiste  Georges,  tenor,  b.  Paris,  May 
20,  1865.  Pupil  at  Paris  Cons.,  1st 
prize  1890;  de1but  Geneva  1891;  en- 
gagements at  Opera  Comique,  Paris, 
Brussels,  and  Geneva;  U.  S.  1901 
with  Grau  Co. 

d'Indy  (dan-di'),  Paul  Marie  Vincent 
[called  Theodore],  compr.  b.  Paris, 
Mar.  27,  1851.  Studied  law  at  re- 
quest of  family  and  at  same  time  pf . 
with  Dimmer  and  harmony  with 
Lavignac;  after  serving  as  volunteer 
in  Franco-Prussian  war,  selected 
music  as  profession;  kettle  drum- 
mer in  orch.  of  Ass'n  artistique 
des  concerts  du  Chatelet,  then 


ISAAK 

chorusmaster;  org.  class  at  Cons. 
1872-75,  taking  first  access-it;  long  a 
faithful  and  thorough  pupil  of  C. 
Franck;  1873  met  Liszt  at  Weimar; 
1875  overture  Piccolomini  performed 
at  Pasdeloup  concerts;  1882  one-act 
opera  produced;  1885  won  Paris 
prize  with  Charii  de  la  cloche;  1887 
chorusmaster  for  Lamoureux  con- 
certs, having  charge  of  chorus  for 
first  Paris  performance  of  Lohengrin; 
with  Franck  and  others  founder  of 
Soc.  nationale  de  musique;  refused 
prof,  at  Cons.  1895;  with  Bordes  and 
Guilmant  founded  1896  Schola  Can- 
torum  of  which  he  is  director  and 
prof,  of  comp.;  visited  America  1905, 
where  he  conducted  a  few  concerts  of 
Bost.  Symph.  Orch.  Has  composed 
operas  Fervaal,  L'Etranger,  symph. 
on  a  mountain  air  (with  pf.),  symph. 
No.  2,  symph.  poems  Wdttenstein, 
Istar,  La  foret  enchantee,  variations 
for  saxophone  and  orch.,  chamber 
music,  and  some  pf.  pieces;  author 
of  very  valuable  study  of  life  and 
works  of  C.  Franck;  has  written  a 
Course  in  Musical  Composition  of 
which  two  volumes  were  issued  up  to 
1910.  He  is  present  leader  of  the 
school  of  modern  French  composers; 
he  has  great  harmonic  and  contra- 
puntal skill  and  a  keenly  intellectual 
mind;  his  music  is,  perhaps,  almost 
too  abstract,  too  free  from  emotion. 

Isaak  (e'-zak),  Heinrich,  contrapuntist. 
b.  Germany  (Netherlands?)  about 
1450;  d.  Florence,  1517.  Name  is  va- 


JACKSON 

riously  spelled  Izac,  Ysaak,  Yzac; 
called  in  Italy  Arrigo  Tedesco;  1477- 
90  orgt.,  and  director  in  household  of 
Lorenzo  the  Magnificent;  later  in 
Rome;  later  at  court  of  Maximilian 

1  at  Vienna;  composed  masses,  and 
sacred  and  secular  songs,  many  of 
which  are  very  beautiful. 

Isouard  (iz'-6-ar),  Niccolb  [called  Nic- 
colo  de  Malte],  compr.  b.  Malta,  Dec. 
6,  1775;  d.  Paris,  Mar.  23,  1818. 
Studied  under  Amendola,  Sala,  and 
Guglielmi,  while  holding  position  in 
bank;  1795  produced  1st  opera;  orgt. 
and  capellm.  to  Maltese  Order;  after 
writing  operas  at  home,  went  1799 
to  Paris;  Boieldieu's  return  from 
Russia  stimulated  his  best  effort  in 
J  cannot  et  Colin  and  Joconde;  wrote 
in  all  about  50  operas,  many  masses, 
motets,  etc.;  death  hastened  by  envy 
at  Boieldieu's  election  to  Academy. 

Ivanov  (e-va-noff),  Michael  Michailo- 
vitch,  compr.  b.  Moscow,  Sept.  23, 
1849.  Studied  with  Tchaikpvski 
and  Dubuc  and  with  Sgambati  and 
others;  since  1876  critic  and  fre- 
quent contributor  to  several  journals; 
has  composed  symph.,  symph.  poem, 
requiem  not  published,  a  ballet  and 

2  operas;  author  of  Pushkin  in  Music 
and  translator  Hanslick's  Vom  Mu- 
sikalisch  Schonen  into  Russian. 

Ivanovici,  compr.  Roumanian  national- 
ity; d.  1902.  Inspector-gen,  of  Rou- 
manian military  mus.;  compr.  of 
famous  waltzes. 


J 


Jackson,  Samuel  P.,  orgt.  b.  Man- 
chester, Eng.,  Feb.  5,  1818;  d.  Brook- 
lyn, N.  Y.,  July  27,  1885.  Son  of 
org.  builder,  learned  father's  trade, 
and  studied  pf.  with  Moran,  har- 
mony with  Thornton  in  New  York, 
whither  he  moved  1825;  teacher  of 
pf.  and  org.;  editor  of  Gems  for 
Organ,  popular  Org.  Voluntaries. 

Jackson,  William,  of  Exeter,  compr. 
b.  Exeter,  May  28,  1730;  d.  there, 
July  12,  1803.  Pupil  of  Silvester, 
orgt.  at  cath.,  and  of  Travers  in 
London;  teacher  at  Exeter,  1777  orgt. 
and  choirmaster  at  cath.;  composed 


music  to  Lycidas,  to  Dying  Christian 
to  His  Soul,  church  music,  several 
collections  of  canzonets  ( Time  has  not 
thinn'd  my  flowing  hair  for  2  voices 
was  very  popular),  wrote  Observations 
on  state  of  music  in  Eng.,  essays,  and 
was  also  landscape  painter. 

Jackson,  William,  of  Masham,  orgt.  b. 
Masham,  Yorkshire,  Jan.  9,  1815; 
d.  Bradford,  Apr.  15,  1866.  Son  of 
miller,  self-taught  on  org.  and  other 
instruments  and  in  harmony;  orgt. 
at  16;  1839-52  in  business  as  tallow- 
chandler,  but  found  time  to  compose  2 
oratorios,  Deliverance  of  Israel,  Isaiah, 


JACOBSOHN 


JANSA 


a  prize  glee,  etc.;  1852  music  seller  in 
Bradford,  condr.  of  Choral  Union  and 
Festival  Choral  Soc.;  composed  can- 
tata The  Year,  church  music,  glees, 
etc.,  compiled  Bradford  Tune  Book. 

Jacobsohn  (ya'-k8b-son),  Simon  E., 
vlt.  b.  Mitau,  Kurland,  Dec.  24, 
1839;  d.  Chicago,  Oct.  3,  1902. 
Studied  at  Leipzig  Cons.;  leader  of 
orch.  at  Bremen  1860,  of  Thomas's 
Orch.,  N.  Y.,  1872;  teacher  at  Cin- 
cinnati Cons.;  then  in  Chicago. 

Jadassohn    (yad'-a-son),    Salomon, 
compr.,  teacher,    b.  Breslau,  Aug.  13, 
1831;  d.  Leipzig,  Feb.  1,  1902.    Stud- 
ied with  Hessler,  Liistner,  and  Bro- 
sig  (harm.),  at  Leipzig  Cons.  1848, 
with  Liszt  at  Weimar  1849,  and  with 
Hauptmann  at  Leipzig  1853;  taught 
in  Leipzig,  condr.  of  Euterpe  con- 
certs, after  1871  teacher  of  composi- 
tion, etc.,  at  Leipzig  Cons.,  where  he 
had  wide  influence;  his  many  text- 
books on  various  branches  of  har- 
mony, Harmonielehre,  Kontrapunkt, 
Kanon    und    Fuge,    etc.,    have    all  I 
been  translated  into  English,  some  I 
into  other    languages;    his    method : 
was    conservative,  but  not   narrow;  | 
his   own  compositions   illustrate  his  | 
skill  in  composition  and  considerable 
brilliancy   of  idea;    they  include  4 
symphonies,  overtures,  pf.  concerto, 
quartets,  5  cantatas,  motets,  etc. 

Jaell  (yal),  Alfred,  pst.,  compr.  b. 
Trieste,  Mar.  5,  1832;  d.  Pans,  Feb. 
27,  1882.  Son  and  pupil  of  Eduard 
J. ;  from  d6but  as  prodigy  of  11  at 
Venice,  continued  to  travel  and  play; 
1845-46  lived  in  Brussels,  then  in 
Paris,  then  in  America  1852-54,  then 
played  everywhere  in  Europe;  1856 
court  pst.  to  king  of  Hanover;  pub- 
lished some  original  waltzes,  noc- 
turnes, etc.,  and  many  transcriptions 
from  modern  composers;  playing  re- 
markable for  elegance  rather  than 
force.  In  1866  married  Marie  Traut- 
mann,  also  pst.  b.  Steinseltz,  Alsace, 
Aug.  17,  1846.  Pupil  of  Herz  at  Paris 
Cons.,  winning  1st  prize  1862;  trav- 
eled with  husband;  composed  con- 
certo, Valses  melancoliques,  Valses 
mignonnes,  etc.,  and  valuable  book 
on  Touch  in  pf.  playing. 

Jahn  (yan),  Otto,  writer,  b.  Kiel,  June 
16,  1813;  d.  Gottingen,  Sept.  9,  1869. 
After  study  in  Germany  and  France, 


was  lecturer  on  philology  at  Kiel, 
1842  prof,  of  archaeology  at  Greifs- 
wald,  1847  director  of  archaeological 
museum  at  Leipzig,  1855  director  of 
museum  and  prof,  of  archaeology  at 
Bonn ;  greatest  work  Life  of  Mozart  (4 
vols.  1856-59,  Eng.  transl.  3  vols. 
1882);  authoritative  work,  first  to 
treat  musical  subject  in  modern  criti- 
cal comparative  fashion;  materials  for 
life  of  Haydn  went  to  Pohl,  those  for 
Beethoven  to  Thayer;  wrote  other  es- 
says on  music,  note  on  Mendelssohn's 
Paulus,  and  composed  some  songs. 

Janko  (yan'-ko),  Paul  von,  inventor. 
b.  Totis,  Hungary,  June  2,  1856. 
Studied  at  Vienna  Polytechnic  and 
at  Cons.,  with  Bruckner,  etc.;  in- 
vented pf .  keyboard  1882,  with  6  rows 
of  keys,  so  arranged  that  any  note  can 
be  struck  in  3  different  places;  keys 
are  also  narrower  so  that  greater 
range  is  acquired;  it  is  an  adaptation 
of  an  earlier  chromatic  keyboard,  and, 
though  adopted  by  some  psts.,  has 
not  become  popular  success;  J.  lived 
in  Constantinople  after  1892. 

Jannequin  (zha-ne'-kan),  Clement, 
compr.,  living  in  either  Germany  or 
France  in  16th  century;  nothing  is 
known  of  life,  as  apparently  he  was 
not  attached  to  any  court  circles, 
or  to  any  church;  pupil  of  Josquin 
Depres;  follower  of  Gombert  in 
descriptive  or  program  music;  com- 
posed very  few  masses  and  motets, 
but  several  hundred  secular  songs 
(La  Bataille,  descriptive  of  the  battle 
of  Marignan,  and  a  song  on  street 
cries  of  Paris  very  popular). 

Janotha  (ya-no'-ta),  Natalie,  pst.  b. 
Warsaw,  June  8,  1856.  Studied 
with  Joachim  and  Rudorff  at  Berlin, 
then  with  Clara  Schumann  and 
Brahms,  and  for  harm,  with  F.  Weber 
and  Bargiel;  d6but  Leipzig  1874; 
court  pst.  to  German  emperor;  com- 
positions chiefly  for  pf . 

Jansa  (yan-sa),  Leopold,  vlt.  b.  Wil- 
denschwert,  Bohemia,  Mar.  23,  1795; 
d.  Vienna,  Jan.  24,  1875.  Pupil  of 
Jehada,  Zizius,  Worzichek,  and  E. 
Forster;  1823  chamber  musician  to 
Count  von  Brunswick;  1824  member 
of  imperial  orch.  at  Vienna;  1834 
director  of  mus.,  prof,  of  vln.  at 
Vienna  Univ.;  banished  for  share  in 
benefit  for  revolutionists,  lived  in 


JANUSCHOWSKY 


JOHN  OF  FORNSETE 


London  1849-68;  then,  at  amnesty, 
returned  to  Vienna;  less  distinguished 
as  virtuoso  than  as  teacher;  Lady 
Hall6,  one  of  pupils. 
Januschowsky  (yan-u-shof'-ski),  Geor- 
gine  von,  dram.  sop.  b.  Austria,  about 
1859.  D6but  about  1875;  sang  at 
Stuttgart,  Freiburg,  etc.;  Vienna 
1877,  at  Leipzig  1879,  in  New  York 
1880;  at  Mannheim  and  Wiesbaden; 
prima  donna  Vienna  Opera  1893-95; 
married  Ad.  Neuendorff,  New  York 
musician. 

Jaques-Dalcroze,  see  Dalcroze. 

Jarvis,  Charles  H.,  pst.  b.  Philadelphia, 
Dec.  20,  1837;  d.  there,  Feb.  25, 1895. 
Appeared  in  public  at  7;  founded 
Phila.  Quintet  Club  1862;  conducted 
orch.  concerts  and  gave  historical 
recitals;  well-known  teacher. 

Jedliczka  (yed-lich-ka),  Ernst,  pst. 
b.  Pultava,  Russia,  June  5,  1855;  d. 
Berlin,  Aug.  3,  1904.  At  first 
student  of  engineering;  lessons  from 
N.  Rubinstein,  Tchaikovski,  and 
Klindworth  at  Moscow;  taught  there 
at  Cons.  1879-86;  then  at  Klind- 
worth -  Scharwenka  Cons.,  Berlin, 
1886-88;  then  at  Stern  Cons.;  re- 
markably successful  teacher. 

Jehin  (zha-an),  [Jehin-Prume],  Frangois 
Henry,  vti.  b.  Spa,  Belgium,  Apr. 
18,  1839;  d.  Montreal,  May  29,  1899. 
Pupil  of  Servais  at  4;  of  his  uncle  F. 
Prume  in  Li6ge  Cons.,  at  Brussels 
Cons,  of  De  Be>iot,  Leonard,  and 
F6tis,  of  Vieuxtemps  and  Wieniaw- 
ski;  de'but  Dresden  at  16,  and  tours 
in  Russia  and  Germany  with  great 
artists;  1862  vlt.  to  king  of  Belgium; 
1863  traveled  in  Cuba,  Mexico, 
U.  S.,  and  Canada,  and  married 
singer  Rosita  del  Vecchio;  finally 
settled  1887  in  Montreal;  prof,  at 
Trafalgar  Inst.,  founder  of  Artistic 
Ass'n,  etc.;  retired  1896.  Took  place 
of  Vieuxtemps  as  head  of  "  Belgian 
school  "  of  vlts.,  teacher  of  Ysaye. 

Jensen  (yen-sen),  Adolf,  compr.  b. 
Konigsberg,  Jan.  12,  1837;  d.  Baden- 
Baden,  Jan.  23,  1879.  Self-taught 
at  first,  later  pupil  of  Marpurg  and 
Ehlert;  1856  teaching  in  Russia; 
capellm.  Posen  1857;  in  Copenhagen 
1858-60,  with  Gade;  Konigsberg 
1860;  Berlin  1866-68,  teaching  at 
Tausig's  school  until  ill  health  com- 
pelled him  to  retire;  ardent  admirer 


of  Schumann,  with  whom  he  corre- 
sponded just  before  S's  death.  His 
songs  resemble  Schumann's  in  their 
original  and  poetic  melody  and 
appropriateness  of  setting,  as  well 
as  in  romantic  charm;  pf.  works,  too, 
are  lyric  in  quality.  His  brother 
Gustay  (1843-1895),  vlt.,  pupil  of 
Joachim,  teacher  at  Cologne,  compr. 
and  editor  of  vln.  works. 

Joachim  (yd-d,-kim),  Joseph,  vlt.  b. 
Kittsee,  near  Pressburg,  June  28, 
1831;  d.  Berlin,  Aug.  15,  1907.  Be- 
gan vln.  study  at  5  with  Szervaczin- 
ski  with  whom  he  appeared  in  public 
at  7;  1841  at  Vienna  Cons,  studied 
with  Hauser,  G.  Hellmesberger,  the 
elder,  and  Bohm  1843;  after  brilliant 
appearances  at  the  Gewandhaus, 
Leipzig,  and  in  London,  he  settled 
quietly  in  Leipzig  under  friendly  in- 
fluence of  Mendelssohn  and  instruc- 
tion of  David;  1849  concertmaster  in 
Weimar,  but  his  disposition  and 
theories  were  so  much  opposed  to 
those  of  Liszt  that  in  1854  J.  became 
condr.  of  concerts  and  solo  vlt.  to 
king  of  Hanover,  where  he  stayed 
till  1866;  married  Amalie  Weiss  1863; 
1868  organizer  and  director  of  new 
department  of  Berlin  Royal  Acad. 
of  Arts — Hochschule  fur  Ausiibende 
Tonkunst  (High-school  for  Practical 
Music);  here  he  taught  great  num- 
bers of  pupils;  established  Joachim 
Quartet  1869  (Schiever,  De  Anna, 
Kruse,  Halir  successively  played  2d 
vln.;  De  Ahna,  Rappoldi,  Wirth,  via.; 
Wm.  Miiller  and  Hausmann,  'cello). 
J's  compositions  are  earnest,  even 
melancholy;  Hungarian  concerto 
most  famous;  has  composed  2  other 
concertos,  4  overtures,  few  pieces 
for  vln.  and  orch.  and  for  via.  and 
pf.;  playing  was  distinguished  for 
classical  repose  and  dignity  of  man- 
ner and  spirit,  flawless  accuracy, 
breadth,  and  fidelity  of  interpreta- 
tion, entire  freedom  from  virtuosity 
merely  as  such;  repertoire  as  soloist 
and  quartet  player  limited  by  same 
earnestness  and  loftiness  of  ideal. 

John  of  Fornsete,  compr.  d.  Jan.  19, 
1239(?).  English  Benedictine  monk 
of  13  century,  from  Forncett  in  Nor- 
folkshire,  who  dwelt  in  monastery  at 
Reading  in  Berkshire;  Coussemaker 
attributes  to  him  the  composition 
of  old  English  canon  Sumer  is 


JOHNS 

icumen  in;  for  summary  of  argu- 
ments concerning  this  authorship 
see  Grove's  Diet.,  Vol.  4. 

Johns,  Clayton,  compr.  b.  Newcastle, 
Del.,  Nov.  24,  1857.  Studied  archi- 
tecture in  Phila.;  1879-82  studied 
music  in  Boston  with  J.  K.  Paine 
and  W.  H.  Sherwood,  and  1882-84 
in  Berlin  with  Kiel,  Grabow,  and 
Rummel;  after  1884  in  Boston, 
teaching  (H.  Gebhard  among  pupils) 
and  composing;  has  written  Berceuse 
and  Scherzino  for  strings,  some 
small  choral  works,  about  100  pf. 
pieces,  but  is  best  known  here  and 
abroad  by  songs,  many  of  which  have 
great  charm,  without  over-complex- 
ity of  mood  or  manner;  noteworthy 
for  selection  of  good  poetry  as  text. 
Author  of  Essentials  of  Piano  Play- 
ing (1909), 

Johnson,  Herbert,  singer,  compr.  b. 
Middletown,  Conn.,  1861;  d.  Bos- 
ton, July  21,  1904.  Early  showed 
talent  for  music  and  was  a  chorister 
in  St.  Stephen's  P.  E.  Church,  Prov- 
idence,' R.  I.;  studied  first  with  local 
teachers,  and  later  in  Boston,  where 
he  commenced  his  career  as  a  church 
singer  in  the  Brookline  Baptist 
Church.  When  the  male  quartet  of 
the  Ruggles  St.  Baptist  church  was 
organized  in  1879  he  was  selected 
as  solo  tenor  and  director  of  the 
music  of  the  church;  during  the 
twenty-two  years  of  its  existence 
the  quartet  was  probably  the  most 
popular  organization  of  its  kind  in 
the  U.  S.  It  was  disbanded  in  1901, 
after  which  he  was  successively 
tenor  at  the  King's  Chapel  and  2d 
Universalist  Church.  Organized  and 
directed  the  Johnson  Quintet  Club, 
a  successful  concert  club.  During 
his  professional  career  he  sang  with 
the  leading  choral  societies  of  New 
England.  His  best  known  composi- 
tion is  the  sacred  song  Face  to  Face. 

Jommelli  (yom-mel-le),  Nicola,  compr. 
b.  Aversa,  near  Naples,  Sept.  10, 
1714;  d.  Naples,  Aug.  25,  1774. 
Pupil  of  Mozzillo,  Durante,  Feo, 
Leo,  Prato,  and  Mancini;  produced 
first  opera  at  23  under  pseudonym 
Valentino;  later  successes  in  Naples, 
Rome,  Bologna,  where  he  was  as- 
sisted by  Martini,  and  Venice  where 
he  became  director  of  cons.;  1745  in 


JOSEFFY 

Vienna,  friend  of  Metastasio;  1749- 
54  maestro  of  St.  Peter's  at  Rome; 
1754-69  capellm.  in  Stuttgart;  failed 
in  Naples  to  win  success  by  later 
operas;  sometimes  called  "the  Ital- 
ian Gluck";  perhaps  greatest  of 
immediate  predecessors  of  Mozart 
in  dramatic  naturalness  (he  aban- 
doned the  da  capo  aria)  and  greater 
consideration  for  orchestral  color 
and  variety;  composed  about  50 
operas  (Artaserse,  Armida,  Demo- 
foonte,  etc.),  several  oratorios  and 
cantatas,  a  famous  miserere,  etc. 

Jonas  (ho-nas),  Alberto,  pst.  b.  Ma- 
drid, June  8,  1868.  Studied  with 
Olave  and  Mendizabal,  and  at  Ma- 
drid Cons.,  at  Brussels  Cons,  with 
Gevaert;  debut  Brussels  1880; 
studied  under  Rubinstein  at  St. 
Petersburg  Cons,  part  of  1890; 
tours  in  England  and  on  Continent; 
1894  head  of  pf.  department  Univ. 
of  Michigan;  Berlin  1908. 

Joncifcres  (zhon-si-ar'),  Victorin  de 
[pseud,  of  Felix  Ludger  Rossignol], 
compr.  b.  Paris,  Apr.  12,  1839;  d. 
there,  Oct.  26,  1903.  At  first  stu- 
dent of  painting;  1859  began  to 
study  mus.  with  Elwart,  and  in 
Leborne's  class  at  Cons.;  comp.  inci- 
dental mus.  to  Hamlet  1863;  opera 
Sardanapale  1867,  and  second  opera 
1869  not  very  successful,  nor  were 
later  works,  though  Dimitri  attracted 
attention  and  Chevalier  Jean  suc- 
ceeded in  Germany;  critic  for  La 
Liberte  after  1871,  and  contributor 
to  other  papers;  president  of  Soc.  des 
compositeurs  de  musique;  also  com- 
posed Symph.  roma-ntique,  suites,  vln. 
concerto,  etc. 

Jones,  Edward  German-,  see  German, 
Edward. 

Jordan,  Jules,  tenor,  teacher,  b.  Willi- 
mantic,  Conn.,  Nov.  10,  1850. 
Living  in  Providence  since  1870; 
studied  with  Osgood  in  Boston, 
Shakespeare  in  London,  Sbriglia 
in  Paris;  choirmaster  Grace  Ch., 
Prov.,  condr.  of  Arion  Club;  Mus. 
Doc.  Brown  Univ.;  has  composed 
opera,  cantata,  minor  vocal  works; 
successful  teacher. 

Joseffy  (yo-sef-fy),  Rafael,  pst.  b. 
Hunfalu,  Hungary,  July  3,  1853. 
Early  studies  under  Brauer  in  Buda- 
pest, followed  by  lessons  at  Leipzig 


JOSQUIN 


JUON 


Cons,  from  E.  F.  Wenzel,  and  in 
Berlin  from  Tausig;  summers  of 
1870-71  in  Weimar  with  Liszt;  ctebut 
Berlin  1872;  successful  appearances 
in  Vienna  and  elsewhere;  since  1879 
in  N.  Y.  where  he  has  taught,  and 
in  about  five  years'  practical  retire- 
ment 1891-96;  lives  at  N.  Tarry- 
town,  a  suburb  of  New  York  City; 
developed  from  the  brilliant  virtu- 
osity of  his  first  period  into  a  riper 
and  more  poetic  musician;  published 
School  of  Advanced  Pf.  Playing  1902. 

Josquin  Despres,  see  Deprfes. 

Journet  (zhor'-na),  [Hippolyte  Jules] 
Marcel,  bass.  b.  Grasse,  Maritime 
Alps,  July  25,  1869.  Studied  with 
Obin  at  Paris;  de"but  Montpellier 
1893,  followed  by  engagement  at 
Brussels;  Metrop.  Op.,  New  York, 
since  1900;  Coveht  Garden,  London, 
since  1898. 

Jousse  (zhos),  J.  b.  Orleans,  France, 
1760;  d.  London,  Jan.  19,  1837. 
Went  to  London  at  Revolution; 
taught  singing  and  pf.  there;  wrote 
several  text-books,  Lectures  on  Thor- 
ough-bass, Catechism  of  Music. 

Juch  (yook),  Emma  Antonia  Justine, 
dram.  sop.  b.  Vienna,  1861.  Parents, 
naturalized  Americans,  returned  to 
N.  Y.  1864;  at  public  schools  and 
when  working  in  store,  J.  used  spare 
time  for  singing  lessons,  from  Mme. 
Murio-Celli;  concert  appearance, 
New  York  1881,  led  to  5  year  engage- 
ment with  Mapleson  for  Italian 
Opera  in  London;  sang  with  Th. 
Thomas  for  3  seasons  of  Wagner 
concerts;  later  organized  English 
opera  company  of  her  own  with 
which  she  toured  U.  S.;  not  often 
heard  after  marriage  to  F.  L.  Well- 
man;  her  voice  was  pure  and  strong, 
and  she  was  an  intelligent  actress. 

Jude,  William  Herbert,  compr.  b. 
Westleton,  Suffolk,  Eng.,  1851.  Orgt. 
at  Liverpool,  founder  of  Purcell  Soc. 
there;  editor  Monthly  Hymnal;  orgt. 
1889  in  Manchester;  lectured  in  Eng- 
land and  Australia;  composed  oper- 
etta Innocents  Abroad,  revival  songs, 
etc. 

Julien  (zhii-li-an),  or  Jullien,  Louis 
[Georges]  Antoine  [Jules],  condr.  b. 
Sisteron,  Basses-Alpes,  Apr.  23, 
1812;  d.  Paris,  Mar.  14,  1860.  Son 
of  bandmaster;  entered  Paris  Cons. 


at  21,  as  pupil  of  Le  Carpentier  and 
HaleVy;  impatient  of  instruction, 
1836  became  condr.  of  concerts  of 
dance  music  at  Jardin  Turc;  1838 
went  to  London  because  of  debts 
and  there  established  series  of  con- 
certs given  every  season  1842-59, 
opened  shop  for  sale  of  own  music, 
leased  theatre,  brought  out  own 
opera  at  great  expense;  brought 
orchestra  to  America  1853;  finally 
arrested  in  Paris  for  debt;  died  in 
insane  asylum;  compr.  of  quadrilles 
of  great  popularity,  sensational 
condr.,  overfond  of  "  monster " 
bands,  yet  introduced  many  good 
works  to  audiences. 

Jullien  (zhiil-li-an),  Jean  Lucien 
Adolphe,  critic,  b.  Paris,  June  1, 1845. 
Son  and  grandson  of  literary  men; 
studied  law  at  Paris  and  music  with 
Bienaim6;  in  early  articles  bravely 
declared  himself  an  admirer  of  Schu- 
mann and  Wagner;  1873  critic  for 
Journal  des  debats;  authority  on 
18th  century  music;  early  works 
deal  with  its  various  phases;  wrote 
also  elaborate  Life  of  Wagner  and 
Life  of  Berlioz;  frequent  contributor 
to  Le  Menestrel  and  other  journals. 

Jungmann  (yung'-man),  Albert,  compr. 
b.  Langensalza,  Prussia,  Nov.  14, 
1824;  d.  Pandorf,  near  Vienna,  Nov. 
7,  1892.  Studied  with  Korner  and 
Leibrock;  prof,  at  St.  Cecilia  Acad. 
Rome;  1853  manager  for  publishing 
firm  C.  A.  Spina  and  of  succeeding 
firm  Jungmann  and  Lerch;  composed 
400  songs  and  light  pf.  mus. 

Jtingst  (yiingst),  Hugo,  condr.  b. 
Dresden,  Feb.  26,  1853.  Pupil  at 
Dresden  Cons.;  founder  1876  and 
condr.  of  Dresden  Choral  Soc. ;  condr. 
of  Julius  Otto  Soc.  and  of  Acad. 
Gesangverein;  composed  about  60 
male  choruses. 

Juon  (yu-on),  Paul,  compr.  b.  Mos- 
cow, Mar.  8,  1872.  Pupil  at  Mos- 
cow Cons,  of  Hrimaly,  Taneiev,  and 
Arensky,  at  Berlin  Hochschule  of 
Bargiel;  settled  in  Berlin  1897;  has 
composed  2  symph.,  chamber  music, 
short  pf.  pieces,  which  are  said  to 
combine  Slav  material  with  German 
treatment;  has  published  Harmonie- 
lehre  and  German  translation  of  the 
life  of  Tchaikovski  by  the  latter's 
brother. 


KAHN 


KASTNER 


K 


Kahn  (kan),  Robert,  compr.  b.  Mann- 
heim, July  21,  1865.  Studied  with 
E.  Frank,  V.  Lachner,  Kiel,  and 
Rheinberger;  received  help  from 
Joachim  in  Berlin  1885;  1890  in 
Leipzig,  founded  Ladies'  Choral 
Union,  1893  teacher  of  comp.  at 
Berlin  Hochschule;  compr.  of  cham- 
ber mus.,  several  works  for  female 
chorus,  and  Mahomets  Gesang  for 
mixed  chorus  and  orch. 

Ka janus  (ka-ya-nus),  Robert,  condr.  b. 
Finland,  Dec.  2,  1856.  Studied  at 
Leipzig  Cons.,  Paris,  and  Dresden; 
founded  Philharmonic  Orch.,  Hel- 
singfors;  founder  and  condr.  of 
symph.  chorus;  compr.  of  symph. 
poems,  suites,  etc.,  on  national  airs; 
first  representative  of  Finnish  na- 
tional music. 

Kalinnikov  (ka-lin'-m'-koff),  Basil  Ser- 

feievitch,  compr.  b.  Voina,  Russia, 
an.  13,  1866;  d.  Yalta,  Crimea, 
Jan.  11,  1901.  Studied  at  Moscow 
Cons,  with  Ilyinski  and  Blaramberg; 
2d  condr.  at  Italian  opera,  Moscow, 
1893,  but  obliged  by  ill  health,  pos- 
sibly brought  on  by  early  privation, 
to  retire  in  1894  to  Crimea;  com- 
posed 2  symphonies  (one  in  G  min. 
best  known),  music  to  Tolstoi's  Tsar 
Boris,  2  symph.  poems,  some 
chamber  music;  works  show  healthy 
national  spirit  and  freshness  of 
inspiration. 

Kalisch,  see  Lehmann,  Lilli. 

Kalkbrenner,  Friedrich  Wilhelm 
Michael,  pst.,  compr.  b.  near  Berlin, 
1788;  d.  Enghien,  near  Paris,  June 
10,  1849.  Son  of  Christian  K.,  also 
musician;  1798-1802  pupil  at  Paris 
Cons,  of  L.  Adam  and  Catel;  1813 
played  in  Berlin  and  Vienna,  met 
Hummel  and  Albrechtsberger,  of 
whom  he  took  lessons;  1814-23  popu- 
lar teacher  in  London;  1823  partner 
Pleyel  pf.  factory;  as  player  dis- 
tinguished for  smooth  suppleness;  as 
teacher,  adapted  Logier's  chiro- 
plast,  aimed  at  independent  action 
of  fingers  and  wrist;  so  vain  that  he 
offered  to  make  an  artist  of  Chopin; 
composed  4  pf.  concertos,  some 


sextets,  quintets,  etc.,  many  fantasias, 
variations,  etc.,  all  very  popular  in 
his  day;  a  Method  with  really  good 
exercises,  especially  for  left  hand. 

Kalliwoda  (kal-li-vo'-da),  Johann  Wen- 
zel,  vlt.,  compr.  b.  Prague,  Mar.  21, 
1800;  d.  Carlsruhe,  Dec.  3,  1866. 
Pupil  of  Pixis  in  Prague  Cons.; 
played  in  theatre  orch.  1816-22; 
capellmeister  to  Prince  Furstenberg 
1823-53,  then  retired;  composed  2 
operas,  7  symph.,  overtures,  orch. 
fantasias,  vln.  concerto,  chamber, 
vln.  and  pf.  mus.,  and  songs.  Son 
Wilhelm  (1827-1893),  pupil  and  suc- 
cessor of  father. 

Karasowski  (ka-ra-sof-ski),  Moritz, 
writer,  b.  Warsaw,  Sept.  22,  1823; 
d.  Dresden,  Apr.  20,  1892.  Pupil  of 
Kratzer;  'cellist  in  opera  orch.  at 
Warsaw  1851;  traveled  1858-60; 
royal  chamber  virtuoso  Dresden 
1864;  wrote  History  of  Polish  Opera, 
Life  of  Mozart,  Chopin's  Youth, 
Life  of  Chopin. 

Karganoff  (kar-gan'-of),  Genari  Osip- 
ovitch,  pst.  b.  Kashetin,  Caucasus, 
Apr.  30,  1858;  d.  Rostroff-on-the- 
Don,  Feb.  23,  1890.  Studied  with 
Reinecke  and  '  Brassin  at  Leipzig 
Cons.;  prof,  of  pf.  at  Tiflis;  chiefly 
notable  for  characteristic  Russian 
romances  for  pf. 

Karl,  Tom,  tenor,  b.  Dublin,  Jan.  19, 
1846.  Pupil  of  H.  Phillips  in  Eng- 
land and  of  Sangiovanni  and  Triulzi 
in  Italy;  after  singing  in  Italy  sev- 
eral years,  came  to  America  with 
Parepa  Rosa;  1872  entered  comic 
opera  with  Pinafore;  long  a  member 
of  the  Bostonians  Co.;  retired  from 
stage  1896;  1899  director  of  Operatic 
School  of  Acad.  of  Dramatic  Arts, 
N.  Y. 

Kastner,  Johann  Georg,  compr.,  writer. 
b.  Strassburg,  Mar.  9,  1810;  d.  Paris, 
Dec.  19,  1867.  Studied  with  Maurer 
and  Romer;  became  orgt.  at  10; 
studied  for  church  in  Lutheran 
Seminary,  but  at  20  became  band- 
master; brought  out  4  operas,  and 
1835  was  sent  by  town  to  Paris 
where  he  studied  under  Berton  and 


KAUFFMAN 


KELLIE 


Reicha,  and  where  he  lived  there- 
after; 1837  published  treatise  on 
instrumentation  (superseded  by  Ber- 
lioz's), methods  for  various  instru- 
ments; originator  of  national  band 
competitions  (Paris  Exp.  1867); 
contributor  to  magazines,  compr. 
of  several  operas,  the  biblical  Der- 
nier roi  de  Juda  considered  best; 
also  wrote  Livres-Partitions,  sym- 
phony-cantatas preceded  by  disser- 
tations, Les  danses  des  marts,  La 
harpe  d'Eole,  Les  voix  de  Paris,  etc., 
more  valuable  for  information  than 
for  music. 

Kauffman  (kowf-man),  Fritz,  compr. 
b.  Berlin,  June  17,  1855.  Studied 
natural  science  and  became  drug- 
gist; 1878  entered  Berlin  Hochschule 
as  pupil  of  Kiel,  took  Mendelssohn 
Prize;  after  year  in  Vienna,  taught 
and  composed  in  Berlin;  1889  condr. 
of  Gesellschaft  concerts  at  Magde- 
burg; 1893  royal  music  director; 
composed  songs,  choruses,  opera, 
symph.,  concerto,  chamber  music 
and  pf.  pieces. 

Kaun  (kown),  Hugo,  compr.  b.  Berlin, 
Mar.  21,  1863.  Studied  with  Raif 
and  Kiel  at  Berlin  Hochschule; 
teaching,  conducting,  and  composing 
in  Milwaukee,  U.  S.,  after  1884; 
1902  returned  to  Berlin;  composed 
symph.  An  mein  Vaterland;  symph. 
poems,  Minnehaha  and  Hiawatha,; 
2  operas,  quartets,  trio,  octet,  etc. 

Kayser  (kl'-zer),  Heinrich  Ernst,  vlt., 
teacher,  b.  Altona,  Apr.  16,  1815; 
d.  Hamburg,  Jan.  17,  1888.  His 
educational  works  for  the  violin, 
Etudes,  Op.  20  and  30,  Studies  in 
Shifting,  Op.  28,  and  a  Method  are 
highly  valued. 

Keiser  (kl'-zer),  Reinhard,  compr.  b. 
Teuchern,  near  Weissenfels,  Jan. 
(baptized  12),  1674;  d.  Hamburg, 
Sept.  12,  1739.  Educated  by  father, 
church  compr.,  and  at  Thomasschule, 
Leipzig,  under  Schelle;  1692  pro- 
duced pastoral  Ismene  and  opera 
Basilius;  went  to  Hamburg  1694 
where  he  lived  for  45  years,  produc- 
ing about  116  operas;  1700  organizer 
of  winter  concerts,  combination 
feasts  of  music  and  food;  1703  direc- 
tor of  opera;  1709  married  into 
nobility;  1719-21  at  Stuttgart;  1723- 
28  capellm.  to  king  of  Denmark; 


1728  canon  and  cantor  at  Hamburg 
cathedral;  great  influence  on  Ger- 
man opera  due  to  his  efforts  at  real 
dramatic  expression  wherein  he  first 
broke  away  from  French  and  Italian 
models,  and  in  his  original  use  of 
popular  German  subjects;  contempo- 
rary popularity  was  great;  also  com- 
posed oratorios,  cantatas  for  Christ- 
mas and  other  occasions,  church 
pieces,  divertimenti,  etc. 

Keler,  Albert  von  [called  Keler-Bela], 

compr.  b.  Bartfeld,  Hungary,  Feb. 
13,  1820;  d.  Wiesbaden,  Nov.  20, 
1882.  After  trying  law  and  farming, 
turned  to  music  1845;  pupil  at 
Vienna  of  Sechter  and  Schlesinger; 
vlt.  at  theatre;  1854  condr.  of  Gungl 
Orch.  at  Berlin;  1855  succeeded 
Lanner  as  condr.  of  band  in  Vienna; 
1863  condr.  Kurorch.  at  Wiesbaden; 
retired  1873;  compr.  of  showy,  brill- 
iant dance  music. 

Keller,  Mathias,  compr.  b.  Ulm,  Wiirt- 
temberg,  Mar.  20,  1818;  d.  Boston, 
1875.  Studied  at  Stuttgart,  and 
later  under  Lindpaintner  and  Sey- 
fried;  bandmaster  for  7  years;  came 
to  Phila.  1846;  1st  vln.  at  several 
theatres;  then  in  Boston,  not  very 
prosperous;  composed  American 
hymn  Speed  our  Republic  to  which 
O.  W.  Holmes  set  new  words  Angel 
of  Peace  for  its  successful  revival  at 
Peace  Jubilee. 

Kelley,  Edgar  Stillman,  compr.  b. 
Sparta,  Wis.,  Apr.  14,  1857.  Pupil 
of  Merriam  and  Eddy,  and  at  Stutt- 
gart Cons,  of  Seifriz  and  others; 
1880  in  San  Francisco  as  orgt., 
teacher,  and  critic;  composed  inci- 
dental music  to  Macbeth,  comic  opera 
Puritania  (and  conducted  orch.  for 
performances);  Chinese  suite  Alad- 
din, based  on  careful  study  of  Chinese 
music  as  are  some  of  his  songs,  no- 
tably Lady  picking  mulberries;  inci- 
dental music  to  Ben  Hur  shows 
erudition  beyond  deserts  of  play; 
taught  and  lectured  in  N.  Y.  (Univ. 
Extension  lectures  1896) ;  later  moved 
to  Berlin. 

Kellie,  Lawrence,  tenor,  compr.  b. 
London,  Apr.  3,  1862.  Student  of 
law;  1884  studied  at  Royal  Acad. 
and  privately  with  Randegger;  de'but 
1886,  recitals  1887;  songs  (7s  it  too 
late?  All  for  thee,  etc.)  very  popular 


KELLOGG 

Kellogg,  Clara  Louise,  dram.  sop.  b. 
Sumterville,  S.  C.,  July,  1842. 
Training  from  her  mother,  and  in 
New  York  after  1856;  d6but  there 
1861,  London  1867,  followed  by 
engagement;  1868-72  touring  U.  S.; 
1872-74  singing  in  London;  1874 
organized  English  opera  co.,  super- 
vised everything  herself  from  trans- 
lations of  librettos  to  training  of 
chorus,  singing  125  nights  in  one 
season;  after  1881  appeared  chiefly 
in  concerts;  married  her  manager, 
Carl  Strakosch,  1887,  and  soon  after- 
ward retired. 

Kelly,  Michael,  tenor,  compr.  b.  Dub- 
lin, Dec.,  1762;  d.  Margate,  Oct.  9, 
1826.  Sang  as  lad  in  Dublin,  and 
appeared  in  Arne's  Cymon;  pupil  at 
Naples  of  Fenaroli  and  Aprile;  sang 
in  Italy  and  Vienna,  where  he  met 
Mozart  and  sang  in  Nozze  di  Figaro; 
sang  in  London  after  1787;  1789  ap- 
peared as  compr.  of  several  pieces; 
1802  opened  music  shop;  bankrupt 
1811,  opened  wine  shop;  entertaining 
Reminiscences  published  1826. 

Kemp,  Robert  [known  as  Father  Kemp], 
condr.  b.  Wellfleet,  Mass.,  June  6, 
1820;  d.  Boston,  May  14,  1897. 
Shoe  dealer  in  Boston,  who  organized 
and  conducted  Old  Folks'  Concerts 
1854;  published  Autobiography  1868. 

Kennerly-Rumford,  Robert  Henry,  bari- 
tone, b.  London,  Sept.  2,  1870. 
Studied  with  Henschel  and  Blume 
and  1894  in  Paris  with  Sbriglia; 
de"but  London  1893;  popular  festival 
and  concert  singer  in  England;  1900 
married  Clara  Butt  [q.  vj. 

Kerl  [Kerll,  Kherl],  Johann  Kaspar 
(von), orgt., compr.  b.  Adorf, Saxonv, 
Apr.  9,  1627;  d.  Munich,  Feb.  13, 
1693.  After  study  in  Vienna  under 
Valentini,  sent  by  Ferdinand  III  to 
Italy,  where  he  was  pupil  of  Caris- 
simi;  1656-73  court  capellmeister  at 
Munich;  taught  at  Vienna,  court 
orgt.  there  1677,  returned  to  Munich 
1684;  details  of  his  life  uncertain; 
remarkable  for  original  resolution 
of  discords;  composed  org.  works, 
masses  (one  entirely  on  black  notes), 
etc. 

Kern,  Carl  Wilhelm,  compr.  b.  June 
4,  1874,  at  Schlitz,  Hesse-Darm- 
stadt. Father,  Carl  August  K., 


KIEL 

organist  and  compr.,  supervised  the 
early  education  of  his  son,  who  later 
studied  under  Friedrich  Lux,  organ 
virtuoso  at  Mayence;  came  to  the 
U.  S.  in  1893;  teacher  in  Elmhurst 
College,  near  Chicago,  where  he 
continued  his  musical  studies;  other 
positions  were  at  the  Springfield,  O., 
School  of  Music,  Dennison  Univer- 
sity, and  the  Baptist  University, 
Dallas,  Tex.;  located  in  St.  Louis 
1904,  teacher  in  the  Strassberger 
Conservatories  and  musical  editor 
for  the  Shattinger  Music  Co.;  com- 
positions consist  of  piano  pieces, 
songs,  anthems  and  organ  works. 

Ketten,  Henri,  pst.  b.  Baja,  Hungary, 
Mar.  25,  1848;  d.  Paris,  Apr.  1,  1883. 
Pupil  of  Marmontel  and  HaleVy; 
compr.  of  light  pf.  pieces.;  successful 
performer. 

Ketterer,  [Nicolas]  Eugfene,  pst.  b. 
Rouen,  July  7,  1831;  d.  Paris,  Dec. 
18,  1870.  Pupil  of  Marmontel  at 
Paris  Cons,  where  he  took  2d  prize 
in  solfeggio  1847  and  accessit  in  pf. 
1852;  brilliant  success  as  pst.  and 
compr.  of  many  fantasias,  caprices, 
etc. 

Key,  Francis  Scott,  poet.  b.  Frederick 
Co.,  Md.,  Aug.  9,  1780;  d.  Balti- 
more, Jan.  11,  1843.  During  British 
invasion  1814,  K.,  then  lawyer  in 
Washington,  went  into  enemy's  lines 
to  effect  exchange  of  captured  friend; 
detained  on  frigate  during  attack  on 
Fort  McHenry,  anxiety  about  result 
inspired  words  of  Star-spangled 
Banner,  to  be  sung  to  old  drinking 
tune  Anacreon  in  Heaven;  K's  col- 
lected poems  published  1857. 

Kiel  (kel),  Friedrich,  compr.  b.  Puder- 
bach,  Oct.  7,  1821;  d.  Berlin,  Sept. 
14,  1885.  Learned  rudiments  from 
father,  taught  himself  pf.  and  comp.; 
vlt.  in  band  of  Prince  von  Wittgen- 
stein; studied  with  Kummer  at 
Coburg  and  Dehn  at  Berlin,  under 
stipend  from  Friedrich  Wilhelm 
IV;  gave  private  concerts  of  own 
works;  1862  perf.  of  Requiem  by 
Stern  Gesangverein  brought  him 
prominence;  1865  taught  comp.  in 
Stern  Cons,  and  1870  at  Hochschule; 
his  compositions,  masses,  motets, 
quartets,  pf.  pieces,  songs,  are 
soundly  classical;  great  success  as 
teacher. 


KIENZL 

Kienzl  (kentsl),  Wilhelm,  compr.  b. 
Waizenkirchen,  Upper  Austria,  Jan. 
17,  1857.  Studied  at  Graz,  Prague, 
Leipzig,  and  under  Liszt  at  Weimar; 
1879  degree  Ph.D.  at  Vienna  with 
dissertation  on  Declamation  which 
attracted  notice  of  Wagner;  lived 
in  Bayreuth  1879;  capellmeister  in 
several  places,  Amsterdam,  Ham- 
burg, Munich  1892-93;  then  devoted 
to  comp.  at  Graz;  operas  Urvasi, 
Heilmar  der  Narr,  Don  Quichote,  and 
especially  Der  Evangelimann  (Berlin 
1895)  which  has  had  tremendous  suc- 
cess, in  popularized  Wagnerian  form 
akin  to  Humperdinck's  Hansel  und 
Gretel;  also  many  songs  and  pf .  pieces. 

Kiesewetter  (kes'-e-vet-ter),  Raphael 
Georg,  Edler  von  Weisenbrunn, 
writer.  b.  Holleschau,  Moravia, 
Aug.  29, 1773;  d.  Baden,  near  Vienna, 
Jan.  1,  1850.  Attached  to  Ministry 
of  War  and  Imperial  councillor; 
pupil  of  Albrechtsberger  and  Hart- 
mann;  enthusiastic  amateur,  patron, 
and  collector  of  music  scores;  author 
of  many  works  on  music,  most  im- 
portant being  researches  into  Greek 
music,  Guido  von  Arezzo,  and  Die 
Musik  der  Araber. 

King,  Julie,  see  Rive-King,  Julie. 

King,  Oliver  A.,  pst.  b.  London,  1855. 
Pupil  of  Barnby,  Holmes,  and  at 
Leipzig  Cons,  of  Reinecke;  pst.  to 
Princess  Louise;  visited  Canada  and 
New  York  1880-83;  prof,  of  pf.  at 
Royal  Acad.;  composed  3  cantatas, 
symph.,  overtures,  concertos,  etc. 

Kinkel,  Johanna  [nee  Mockel],  compr. 
b.  Bonn,  July  8,  1810;  d.  London, 
Nov.  15,  1858.  Pupil  of  Bohmer  in 
Berlin;  married  publisher  Matthieux 
1832  but  soon  left  him;  married 
poet  Gottfried  Kinkel  1843;  com- 
posed cantata  and  operetta;  wrote 
Acht  Briefe  an  eine  Freundin  iiber 
Clavierunterricht. 

Kirchner  (kirkh'-ner),  Fritz,  pst.  b. 
Potsdam,  Nov.  3,  1840;  d.  there, 
May  11,  1907.  Studied  with  Kul- 
lak,  Wiierst,  and  Seyffert  at  Kullak's 
Acad.  where  he  taught  1864-89;  then 
in  Madchenheim,  Berlin;  composed 
educational  music,  chiefly  for  pf. 

Kirchner,  Theodor,  compr.  b.  Neu- 
kirchen,  Saxony,  Dec.  10,  1823;  d. 
Hamburg,  Sept.  18,  1903.  Pupil  of 


KLAFSKY 

Becker  in  Leipzig;  1843-62  orgt.  at 
Winterthur;  1862-72  teaching  in 
Zurich;  1873  director  of  Wiirzburg 
Cons.;  lived  in  Leipzig;  1883-90 
teacher  at  Dresden  Cons.;  then 
moved  to  Hamburg;  works  almost 
entirely  for  pf.  in  style  of  Schumann, 
short,  with  descriptive  titles,  yet 
far  from  merely  imitative;  Album- 
blatter  and  Nachtetiicke  especially 
notable. 

Kirnberger,  Johann  Philipp,  theorist. 
b.  Saalfield,  Thuringia,  Apr.  24, 1721; 
d.  Berlin,  July  27,  1783.  Pupil  of 
Kellner,  Gerber,  and,  1739-41,  of 
J.  S.  Bach;  taught  and  conducted 
at  Leipzig,  in  Lemberg;  after  study 
with  Tickler,  became  vlt.  in  Royal 
Orch.  Berlin;  1754  capellmeister  to 
Princess  Amalie;  composed  correct 
but  cold  fugues,  etc.,  developed  some 
incorrect  theories  about  tempera- 
ment; most  important  work  Die 
Kunst  des  reinen  Satzes  1774-79. 

Kistler,  Cyrill,  compr.  b.  Gross-Aitin- 
gen,  near  Augsburg,  Mar.  12, 1848;  d. 
Kissingen,  Jan.  2,  1907.  School- 
teacher in  various  places;  1876  pupil 
at  Munich  Cons,  of  Wiillner,  Rhein- 
berger,  and  F.  Lachner;  1883  teacher 
of  theory  and  org.  at  Sondershausen 
Cons.;  1885  principal  of  private 
music  school  at  Kissingen  and  pub- 
lisher; 1884-94  editor  of  Mus.  Tages- 
fragen;  opera  Kunihild  (1884,  re- 
vived 1893)  excited  some  attention, 
composed  on  Wagnerian  principles; 
wrote  also  other  operas  not  very 
successful,  part-songs,  marches,  etc., 
and  harmony  based  on  Wagner. 

Kittl,  Emmy,  see  Destinn,  Emmy. 

Kjerulf  (kye-rulf ),  Half  dan,  compr.  b. 
Christiania,  Sept.  15,  1815;  d.  there, 
Aug.  11,  1868.  Student  of  law;  1840 
teacher  of  music;  1850  by  govern- 
ment grant  studied  at  Leipzig  under 
Richter;  after  unsuccessful  efforts 
to  establish  concerts  in  Christiania, 
he  devoted  himself  to  composition; 
works  are  chiefly  songs  (with  few  pf. 
pieces) ,  of  Scandinavian  mood,  tender 
melancholy,  charming  simplicity  and 
genuine  worth. 

Klafsky  [Lohse-K.],  Katharina,  dram, 
sop.  b.  St.  Johann,  Hungary,  Sept. 
19,  1855;  d.  Hamburg,  Sept.  22, 
1896.  After  childhood  of  poverty 
and  service,  sang  in  Komische  Oper 


KLAUSER 

chorus  at  Vienna;  after  lessons  from 
Marches!,  returned  to  stage;  short 
retirement  after  marriage,  followed 
by  small  parts  at  Leipzig,  London, 
etc.;  1882  member  of  Neumann's 
Wagner  Company;  took  principal 
parts  at  Hamburg;  sang  also  at 
Bremen,  London,  Munich,  etc.; 
Festival  1894,  etc.;  married  3d  time 
Otto  Lohse  1895;  came  to  U.  S.  with 
Damrosch  Co.  1895;  distinguished 
in  Wagner  roles,  especially  Briinn- 
hilde. 

Klauser  (klow'-zer),  Karl,  editor,  b. 
St.  Petersburg,  Aug.  24,  1823. 
Studied  in  Germany,  but  chiefly 
self-taught;  came  to  U.  S.  1850; 
1856-83  mus.  director  at  Miss  Por- 
ter's School,  Farmington,  Conn.; 
editor  and  arranger  of  many  edi- 
tions of  classic  comps.  and  joint 
editor  Famous  Composers  and  Their 
Works. 

Klauwell  (klow'-vel),  Otto,  writer. 
b.  Langensalza,  Thuringia,  Apr.  7, 
1851.  Studied  at  Schulpforta,  and, 
after  service  in  Franco-Prussian 
war,  at  Leipzig  Cons,  under  Richter 
and  Reinecke;  Ph.D.  at  Univ.  with 
dissertation  on  development  of 
canon;  1874  taught  at  Cologne  Cons.; 
1884  director  of  Teachers'  Seminary 
there;  besides  compositions,  opera, 
overture,  etc.,  has  written  on  history 
of  music  and  on  pf.  playing. 

Kleeberg  (kla-berg),  Clotilde,  pst.  b. 
Pans,  June  27,  1866;  d.  Brussels, 
Feb.  7,  1909.  Pupil  of  Mmes.  Retz 
and  Massart  at  Paris  Cons.,  winning 
1st  prize  1878;  de"but  at  12  with 
Beethoven  C  minor  concerto  at 
Pasdeloup  concerts;  1883  played  in 
London  and  in  following  years  in 
Berlin  and  Vienna,  everywhere  with 
success;  married  sculptor  C.  Samuel 
1900;  "  sympathetic,  delicate,  truly 
womanly  executant  of  Schumann 
and  Chopin."  [Bie.] 

Kleffel,  Arno,  compr.  b.  Possneck, 
Thuringia,  Sept.  4,  1840.  Pupil  in 
Leipzig  at  Cons,  and  privately  of 
Hauptmann;  director  mus.  soc. 
Riga  1863-67;  capellmeister  at  thea- 
tres in  various  cities,  1873-80  in 
Berlin,  1886-92;  1894-96  teacher  of 
theory  Stern  Cons.  Berlin;  1897- 
1904  at  Cologne;  settled  in  Berlin 
1904;  composed  opera,  incidental 


KLINDWORTH 

music  to  Faust  and  to  Die  Wichtel- 

mdnnchen,     overtures,  pf.     pieces, 

(mostly    short,    some  instructive), 
songs,  etc. 

Klein  (kiln),  Bruno  Oscar,  compr.  b. 
Osnabrlick,  June  6,  1858.  Pupil  of 
father  (orgt.),  of  Rheinberger,  Wiill- 
ner,  and  Baermann  at  Munich  Cons. ; 
came  to  America  1878;  after  travel- 
ing, giving  concerts,  settled  in  New 
York  1883;  pf.  teacher  at  Convent 
of  Sacred  Heart,  orgt.  at  St.  Francis 
Xavier  1884-94,  prof,  of  counter- 
point at  Nat'l  Cons.  1887-92; 
occasional  concerts  in  Germany; 
composed  opera  Kenilworth,  Ham- 
burg 1895,  pf.  works,  etc. 

Kleinmichel  (klin'-ml-khel),  Richard, 
pst.,  compr.  b.  Posen,  Dec.  31,  1846; 
d.  Charlottenburg,  Aug.  18,  1901. 
Studied  with  father,  at  Hamburg, 
and  at  Leipzig  Cons.;  taught  in 
Hamburg  and  Leipzig,  where  he 
became  director  of  Stadt  Th.  1882; 
married  Clara  Monhaupt,  dram,  sop.; 
lived  in  Magdeburg,  then  in  Berlin; 
composed  2  operas,  both  performed 
at  Hamburg,  2  symphonies,  cham- 
ber mus.,  valuable  pf.  Etudes,  and 
arrangements  from  Wagner;  many 
years  joint  editor  of  Signale. 

Klengel,  Julius,  'cellist,  b.  Leipzig, 
Sept.  24,  1859.  Pupil  of  Hegar  and 
Jadassohn;  'cellist  in  Gewandhaus 
Orch.  since  1874;  teacher  at  Cons, 
since  1881;  member  of  Gewandhaus 
Quartet;  remarkable  for  unexcelled 
technical  skill;  gifted  teacher;  compr. 
of  3  'cello  concertos  and  solo  pieces. 
Brother  Paul  K.,  condr.  b.  Leipzig, 
May  13,  1854.  Pupil  at  Cons.;  Ph. 
D.  Leipzig  Univ.  with  dissertation 
on  aesthetics;  condr.  Euterpe  Con- 
certs 1881-86;  2d  court  capellmeister 
Stuttgart  1888-93;-  condr.  of  Arion 
Chorus,  Leipzig,  from  1893  to  present 
except  from  1898  to  1903,  when  he 
conducted  Deutscher  Liederkranz 
in  New  York. 

Klindworth  (klint'-vort),  Karl,  pst., 
teacher,  b.  Hanover,  Sept.  25,  1830. 
Played  vln.  as  child,  but  could  not 
afford  lessons;  from  17-19  condr. 
traveling  opera  troupe;  then  taught 
in  Hamburg;  1852  received  assist- 
ance which  enabled  him  to  study 
with  Liszt  at  Weimar;  1854-68  in 
London  as  pst.,  teacher,  organizer 


KLOTZ 


KNORR 


of  artistic  but  unsuccessful  concerts, 
gradually  gaining,  himself,  in  popu- 
larity; 1868-84  prof,  of  pf.  at  Mos- 
cow Cons.,  where  he  accomplished 
his  greatest  works,  pf.  score  of  Wag- 
ner's Ring  des  Nibelungen  and  com- 
plete edition  of  Chopin's  works; 
then  in  Berlin,  joint  condr.  with 
^Joachim  and  Wullner,  of  Philhar- 
*monic  concerts  and  condr.  of  Wag- 
nerverein,  founder  of  music  school, 
which  united  with  Scharwenka  Cons. ; 
1893  retired  to  Potsdam  as  private 
teacher;  has  made  arrangements  of 
Tchaikovski's  Pathetiqiie,  etc.,  edited 
Beethoven's  sonatas,  rescored  Cho- 
pin's F  min.  concerto,  composed 
etudes  for  pf .,  Polonaise fantaisie,  etc. 

Klotz,  vln. -makers,  Mittenwald,  Bava- 
ria. Earliest  Mathias,  b.  June  11, 
1653;  d.  Aug.  16, 1743.  Possibly  pupil 
of  Stainer,  and  of  Nicolo  Amati  in 
Cremona  for  many  years;  wood  of 
his  vlns.  is  good  but  often  worm- 
eaten;  varnish  is  stiff.  Son  Sebas- 
tian, b.  Jan.  18,  1696;  d.  after  1743, 
greatest  of  family;  vlns.  like  Stain- 
er's,  varnish  thicker  and  better  than 
father's.  His  son  Aegidius,  1733- 
1805,  when  he  took  pains,  one  of  best 
makers  of  his  time.  Lutgendorff 
gives  16  others  of  the  family,  mostly 
named  Sebastian,  Mathias,  Georg, 
or  Aegidius. 

Klughardt,  August  [Friedrich  Martin], 

condr.  b.  Cothen,  Nov.  30,  1847; 
d.  Dessau,  Aug.  3,  1902.  Studied 
with  Blassmann  and  Reichel  at 
Dresden;  th.  condr.  at  Posen, 
Liibeck,  Weimar;  court  music  direc- 
tor at  Weimar,  Neustrelitz,  and 
Dessau;  influenced  by  Liszt  but  not 
extreme  in  following  him;  composed 
4  operas,  5  symph.,  2  suites,  5  over- 
tures, chamber  mus.,  symph.  poem 
Leonore,  pf.  mus.  etc. 

Knecht,  Justin  Heinrich,  orgt.  b. 
Biberach,  Wiirttemberg,  Sept.  30, 
1752;  d.  there,  Dec.  1,  1817.  Pro- 
fessor of  literature  and  music  director 
at  Biberach  1771-1807;  court  direc- 
tor at  Stuttgart  1807-1809,  when  he 
resigned  because  of  intrigues  at 
court;  rival  of  Abt  Vogler  as  orgt. 
and  theorist;  wrote  books  on  har- 
mony, methods  for  org.  and  pf., 
Luthers  Verdienst  um  Musick  und 
Poesie;  of  his  compositions  only 


interesting  one  is  Tongemalde  der 
Natur,.  symphony  treating  of  same 
subjects  as  Beethoven's  Pastoral. 

Kneisel  (knl'-sel),  Franz,  vlt.  b. 
Bucharest,  Roumania,  Jan.  26,  1865. 
Son  and  pupil  of  bandmaster;  pupil 
at  Bucharest  Cons.,  and  at  Vienna 
Cons,  of  Griin  and  Hellmesberger, 
winning  1st  prize;  concertmaster  at 
Hofburg  Th.,  of  Bilse's  Orch.,  Ber- 
lin, and  1885-1903  of  Boston  Symph. 
Orch.;  1902-03  condr.  Worcester 
Festivals;  1905  vln.  prof,  at  Insti- 
tute of  Mus.  Art  in  N.  Y.;  1886 
founded  Kneisel  Quartet;  other 
members  have  been  E.  Fiedler,  O. 
Roth,  K.  Ondricek,  J.  Theodorowicz, 
J.  Roentgen  2d  vln.;  L.  Svecenski, 
via.;  F.  Giese,  A.  Hekking,  A.  Schroe- 
der,  W.  Willeke,  'cello;  quartet  has 
accomplished  much  in  revealing 
beauties  of  chamber  mus.  to  Ameri- 
can audiences. 

Kniese  (kne'-zg),  Julius,  condr.  b. 
Roda,  near  Jena,  Dec.  21,  1848;  d. 
Dresden,  Apr.  22,  1905.  Pupil  of 
Stade,  Brendel,  and  Riedel;  direc- 
tor of  Singakademie,  Glogau,  1871- 
76;  condr.  of  singing  society,  Frank- 
fort1; director  at  Aix;  after  1882 
chorusmaster  for  festival  perform- 
ances at  Bayreuth,  1889  director 
of  preparatory  school  for  singers 
there;  composed  opera,  symph.  poem, 
4  books  of  songs. 

Knight,  Joseph  Philip,  compr.  b.  Brad- 
ford-on-Avon,  July  26,  1812;  d. 
Great  Yarmouth,  June  1,  1887. 
Org.  pupil  of  Corfe;  first  songs  pub. 
under  pseud.  Philip  Mortimer; 
while  living  in  U.  S.  1839-41  pro- 
duced most  famous  songs  (Rocked 
in  the  Cradle  of  the  Deep,  Why  Chime 
the  Bells?) ;  vicar  and  orgt.  at  Scilly 
Islands;  after  marriage  spent  some 
years  abroad;  composed  about  200 
songs,  very  popular  in  his  day. 

Knorr  (knore),  Julius,  pf.  teacher,  b. 
Leipzig,  Sept.  22,  1807;  d.  there, 
June  17,  1861.  Student  of  philology 
at  Leipzig;  debut  Gewandhaus  1831; 
friend  of  Schumann,  editor  of  Neue 
Zeitschrift  1834-35;  introduced  pre- 
liminary technical  exercises  in  pf. 
teaching;  wrote  various  "  schools  " 
and  methods,  and  a  guide  to  the 
literature  of  piano  instruction. 


KOBBE 

Kobbe  (kob'-ba),  Gustav,  writer,  b. 
New  York,  Mar.  4,  1857.  Pupil  of 
A.  Hagen  and  Mosenthal;  graduated 
at  Columbia  College  1877,  Law 
School  1879;  living  in  Morristown, 
N.  J.;  frequent  contributor  to  maga- 
zines of  articles  on  stage,  singers, 
and  actors;  published  Wagner's  Life, 
My  Rosary  and  other  poems,  Opera 
singers,  The  Pianolist,  etc. 

Kocian  (kot'-si-an),  Jaroslav,  vlt.  b. 
Wildenschwert,  Bohemia,  Feb.  2, 
1884.  Father,  schoolmaster,  gave 
him  lessons  at  3$;  pupil  at  Prague 
Cons,  of  Sevcfk  and  Dvorak;  since 
1901  has  played  with  great  success 
in  Europe  and  in  America. 

Koczalski  (koshal'-ski),  Raoul  Armand 
Georg,  pst.,  compr.  b.  Warsaw,  Jan. 
3,  1885.  Pupil  of  his  mother  and 
Godowsky;  played  as  prodigy  at  4  in 
Warsaw  and  in  subsequent  years  in 
European  capitals;  court  pst.  to 
Shah  of  Persia;  said  to  have  played 
1000  times  before  1896;  several 
compositions,  fantasias,  waltzes,  etc. 

Kbhler  (ke-ler),  Christian  Louis  Hein- 
rich,  pst.,  compr.  b.  Brunswick, 
Sept.  5,  1820;  d.  Konigsberg,  Feb. 
16,  1886.  Pupil  of  Sechter,  Sey- 
fried,  Von  Booklet,  etc.,  at  Bruns- 
wick arid  Vienna;  director  at  several 
theatres;  after  1847  teacher  and 
founder  of  school  for  pf.  and  theory 
at  Konigsberg;  contributor  to  Sig- 
nale;  though  he  composed  3  operas, 
symph.,  cantata,  etc.,  chief  works  are 
didactic  studies  and  pf.  methods;  he 
develops  technic  in  mechanical  divis- 
ions, for  the  fore-arm,  the  wrist,  etc. 

Kolling  (ke'-ling),  Carl  W.  P.,  compr. 
b.  Hamburg,  Feb.  28,  1831.  Com- 
posed opera  Schmetterlinge,  Ham- 
burg 1891;  composed  attractive  pf. 
pieces;  teaching  in  Hamburg;  came 
to  U.  S.  and  located  in  Chicago. 

Kb'nnemann,  Arthur,  compr.  b.  Baden- 
Baden,  Mar.  12,  1861.  Pupil  of 
father  (condr.)  and  of  Krasselt; 
cpndr.  at  several  theatres;  director 
since  1887  of  music  school  and  orch. 
soc.  at  Mahrisch-Ostrau;  composed 
7  operas,  works  for  orchestra,  scherzo, 
suite,  overture,  etc.,  and  songs. 

Kontski,  Antoine  de,  pst.  b.  Cracow, 
Oct.  27,  1817;  d.  Ivanitshi,  prov.  of 
Novgorod,  Dec.  7,  1899.  Pupil  of 


KOSSMALY 

Markendorf  at  Warsaw  and  of  Field 
at  Moscow;  lived  in  Paris  until  1851, 
Berlin  until  1853,  St.  Petersburg 
until  1867,  then  in  London;  visited 
U.  S.  in  1885-86  and  again  on  tour 
round  the  world  1896-98;  his  playing 
and  his  compositions  were  alike 
delicate  and  brilliant  but  superficial; 
3  brothers,  Apollinaire,  Charles, 
Stanislas,  all  vlts. 

Kopylov  (kopil'-off),  Alexander,  compr. 
b.  St.  Petersburg,  July  14,  1854. 
Vocal  instructor  in  Royal  Court 
Choir;  classed  by  Pougin  among 
those  faithful  to  the  conventional 
Russian  school;  composed  symphony, 
scherzo  for  orch.,  2  quartets,  several 
choruses,  and  songs. 

Korbay  (korbay'),  Francis  Alexander, 

tenor,  pst.  b.  Pesth,  May  8,  1846. 
Pupil  of  Volkmann  (comp.),  G.  Roger 
(singing)  and  Liszt,  his  godfather, 
(pf.);  sang  Budapest  Nat'l  Th.  1865- 
68;  toured  Germany,  England,  and 
America,  as  concert  pst.  until  1871, 
where  he  was  able  to  give  song 
recitals  to  own  accomp.;  taught  and 
lectured  in  N.  Y.;  1894-1903  prof, 
of  singing  Royal  Acad.,  London, 
where  he  has  since  lived;  composed 
Nuptiale  for  orch.,  songs,  and  tran- 
scriptions of  Hungarian  folk-songs. 

Korestchenko,     Arseni     Nicolaievitch, 

compr.  b.  Moscow,  Dec.  18,  1870. 
Pupil  of  Taneiev  and  Arensky,  win- 
ner of  gold  medals  at  Moscow  Cons, 
where  he  now  teaches  counterpoint 
and  form;  has  composed  3  operas 
(2  for  one  act,  prod.  Moscow  1900, 
.1902),  ballet,  symphonic  lyrique,  etc. 

Koschat,  Thomas,  compr.,  bass.  b. 
Viktring,  near  Klagenfurt,  Aug.  8, 
1845.  While  studying  natural 
sciences  at  Vienna,  joined  opera 
chorus,  cathedral  choir,  etc.;  1871 
wrote  words  in  Carinthian  dialect 
and  music  pf  quartets  for  men's 
voices  of  which  he  has  written  over 
100  (Forsaken  the  best  known); 
organized  Karnthner  Quintet  1875; 
composed  Liederspiel  Am  Worthersee, 
Singspiel,  and  opera. 

Kossmaly  (kos-ma'-li),  Carl,  writer, 
b.  Breslau,  July  27,  1812;  d.  Stettin, 
Dec.  1,  1893.  Pupil  of  Berger,  Zelter, 
and  Klein;  th.  condr.  at  various 
German  cities,  at  Stettin  1846-49; 


KOTZELUCH 


KREHBIEL 


wrote  Schlesisches  Tonkunstler  Lexi- 
kon,  works  on  Mozart,  against  Wag- 
ner, and  contributed  often  to  the 
Neue  Zeitschrift,  etc. 

Kotzeluch  (kot'-ze-look),  Leopold  Anton 
[properly  Leopold  Antonin  Kozeluh], 
pst.  b.  Wellwarn,  Dec.  9,  1752;  d. 
Vienna,  May  7, 1818.  While  law  stu- 
dent at  Prague,  composed  ballet  under 
tuition  of  cousin  Johann  Anton  K., 
which  was  so  successful  that  he 
turned  to  music  1771;  music  teacher 
to  Archduchess  Elizabeth  at  Vienna; 
chiefly  memorable  for  disagreeable 
behavior  toward  Mozart  whom  he 
succeeded  as  court  compr.  1792; 
his  numerous  works,  25  ballets,  30 
symph.  50  concertos,  etc.,  are  no 
longer  of  interest. 

Kotzschmar  (kotz'-shmar),  Hermann, 
teacher,  compr.  b.  Finsterwalde,  Ger- 
many, July  4,  1829;  d.  Portland, 
Me.,  1909.  Pupil  of  father  on  org. 
and  several  wind  instr.,  of  his  uncle 
Hayne  for  pf .  and  J.  Otto  for  comp. ; 
member  of  royal  body-guard  band 
and  of  Dresden  opera  orch.;  came 
to  America  with  Saxonia  Band  1848; 
orgt.  in  Portland,  Me.,  after  1849; 
condr.  of  choral  societies;  compr.  of 
church  quartets,  slight  pf.  pieces. 

Kowalski  (ko-val'-ski) ,  Henri,  pst.  b. 
Paris,  1841.  Pupil  of  Marmontel 
and  Reber;  gave  concerts  in  Ger- 
many, England,  and  America  1869; 
composed  an  opera,  produced  with- 
out success,  Paris  1877,  and  rather 
superficial  pf.  pieces;  wrote  A 
trovers  I'Amerique  giving  sarcastic 
observations  on  America. 

Kraus  (krows),  [Conrad  Ferdinand 
Hermann]  Ernst,  dram,  tenor,  b.  Er- 
langen,  Bavaria,  June  8, 1863.  Pupil 
of  Galliera  at  Milan  and  of  Schi- 
mann-Regan  at  Munich;  concert  de- 
but Munich  1893;  opera  d6but  Mann- 
heim 1893;  engaged  at  Mannheim 
and  Berlin;  came  to  Metropolitan, 
N.  Y.  four  seasons;  1901  at  Bayreuth; 
specialty,  Wagner  roles;  now  with 
the  Berlin  opera. 

Krause  (krow'-za),  Anton,  pst.,  condr. 
b.  Geithain,  Saxony,  Nov.  9,  1834; 
d.  Dresden,  Jan.  31,  1907.  Pupil  of 
Dietrich,  and  at  Dresden  of  Wie'ck, 
Reissiger,  and  Spindler;  pst.  delmt 
Geithain  1846;  further  study  in 
Leipzig  Cons,  under  Moscheles,  etc., 


1850-53;  condr.  Leipzig  Lieder- 
tafel,  director  of  Gesangverein  at 
Barmen  1859  to  retirement  1897; 
composed  several  songs,  Princessin 
Ilse  (for  declamation  with  pf.),  and 
very  many  melodious  pf.  studies. 

Krause,  Emil,  pst.  b.  Hamburg,  July 
30,  1840.  Pupil  at  Leipzig  Cons,  of 
Hauptmann,  etc.;  1860  teacher  pf. 
and  theory  at  Hamburg;  1885  at 
Cons.;  published  pf.  method  with 
exercises,  sonatas,  variations,  3 
cantatas,  etc. 

Krause,  Martin,  pst.,  teacher,  b.  Lob- 
stedt,  near  Leipzig,  June  17,  1853. 
Studied  with  father,  Fuchs,  and  at 
Leipzig  Cons,  with  Wenzel  and 
Reinecke;  after  some  time  spent  in 
teaching,  giving  successful  concerts, 
and  an  attack  of  nervous  prostration, 
became  diligent  disciple  of  Liszt 
1883-85;  with  Siloti  and  others 
founded  1885  Lisztverein,  of  which 
K.  is  manager;  teacher  and  writer  in 
Leipzig. 

Krebs,  Johann  Ludwig,  orgt.  b.  Buttel- 
stadt,  Thuringia,  Feb.  10,  1713;  d. 
Altenburg,  Jan.,  1780.  Pupil  of  fath- 
er, orgt.,  and  1726-35  private  pupil 
at  Leipzig  Thomasschule  of  J.  S. 
Bach,  who  said  K.  was  his  best  pupil; 
orgt.  at  Zeitz,  Zwickau,  and  Alten- 
burg; works  include  Clavieriibungen, 
sonatas,  suites  and  preludes,  etc. 

Krebs,  Mary,  pst.  b.  Dresden,  Dec.  5, 
1851;  d.  there,  June  27,  1900.  Pupil 
of  her  father,  Karl  August  K.  (1804- 
1880),  pst.,  compr.;  debut  Gewand- 
haus,  Leipzig,  1865;  up  to  the  time 
of  her  retirement  from  the  concert 
stage  she  was  well  received  in  the 
leading  European  musical  centers. 

Krehbiel  (kra'-bel),  Henry  Edward, 
writer,  b.  Ann  Arbor,  Mich.,  Mar. 
10,  1854.  Studied  law  at  Cincinnati, 
turned  to  journalism,  with  music  as 
specialty;  mus.  critic  for  Cincinnati 
Gazette;  editor  N.  Y.  Mus.  Review; 
since  1880  mus.  critic  for  N.  Y.  Tri- 
bune; beside  discriminating  and 
broad-minded  criticism,  has  written 
many  magazine  articles,  program 
notes  for  N.  Y.  concerts,  and  several 
books:  first,  historical  records,  such 
as  Notes  on  Choral  Mus.  and  Oratorio 
Soc.  of  N.  Y.,  Review  of  N.  Y.  Mus. 
Seasons  1885-90,  The  Philharmonic 


KREISLER 


KROGMANN 


Society  of  N.  Y.,  etc.;  2dly,  aids 
to  students,  How  to  Listen  to  Music, 
transl.  of  Technics  of  vln.  playing, 
etc.;  3dly,  more  humanistic,  Music 
and  manners  in  the  18th  century; 
Chapters  of  Opera;  American  con- 
tributor to  Grove's  Dictionary. 

Kreisler  (krls'-ler) ,  Fritz,  vlt.  b.  Vienna, 
Feb.  2, 1875.  Pupil  of  Hellmesberger 
at  Vienna  Conservatory  and  of 
Massart  and  Delibes  at  Paris  Cons., 
winning  1st  prize  1887;  after  success- 
ful tour  in  America  with  Rosenthal 
1888-1889,  studied  medicine,  art, 
military  science;  resumed  vln.  with- 
out brilliant  success  at  first,  but 
at  d6but  Berlin  1899  and  on  tour 
in  America  1900-1901  with  Hofmann 
and  Gerardy,  established  position  as 
leading  vlt.;  playing  is  remarkably 
vital  and  broad,  and  his  programs 
varied;  has  arranged  many  of  the 
early  violin  classics. 

Kretschmer  (kret'-shmer),  Edmund, 
compr.  b.  Ostritz,  Saxony,  Aug.  31, 
1830.  Studied  with  J.  Otto  and 
Joh.  Schneider  at  Dresden;  1863-97 
court  orgt.;  founder  and  condr.  of 
Cacilia  Singing  Soc.;  compr.  of  im- 
portant operas,  Die  Folkunger  and 
Heinrich  der  Lowe. 

Kretzschmar  (kretz'-shmar),  August 
Ferdinand  Hermann,  writer.  b. 
Olbernhau,  Jan.  19,  1848.  Pupil 
of  J..  Otto  at  Dresden  and  of  Richter, 
Paul,  etc.,  at  Leipzig  Cons.;  1871 
Ph.D.  with  dissertation  on  Guido 
d'Arezzo,  and  teacher  of  org.  and 
harm,  at  Cons.;  condr.  of  several 
societies  in  Leipzig,  mus.  director  in 
various  towns,  1887  music  director  of 
Leipzig  Univ.,  condr.  Riedel-Verein, 
organizer  of  Academic  Orch.  Con- 
certs; retired  from  conducting  1898; 
dir.  Royal  High  School  for  Music, 
Berlin,  1909;  valuable  contributions 
to  periodicals,  published  lectures 
on  Cornelius,  etc.,  and  Fuhrer  durch 
den  Concertsaal,  3  vols.,  analyses  of 
musical  works. 

Kreutzer  (kroit'-zer),  Conradin,  compr. 
b.  Messkirch,  Baden,  Nov.  22,  1780; 
d.  Riga,  Dec.  14,  1849.  Studied 
with  Rieger  and  Weihrauch;  medical 
student  1799-1800;  after  production 
of  1st  opera  at  Freiburg,  spent  5 
years  in  Switzerland  as  pst.  and 
singer;  1804-1811  at  Vienna,  2  yrs. 


pupil  of  Albrechtsberger;  capellmeis- 
ter  Stuttgart  1812;  to  Prince  von 
Furstenberg  1817-1822,  at  Leipzig 
theatres  intermittently  1825-40,  at 
City  Th.  Cologne  1840-46;  there- 
after in  Vienna.  Of  his  30  operas 
only  Doc  Nachtlager  in  Granada, 
Der  Verschwender,  Jery  und  Bately 
have  survived;  of  other  works  some 
choruses  are  noteworthy  (Die  Kapelle, 
etc.). 

Kreutzer,  Rodolphe,  vlt.  b.  Versailles, 
Nov.  16,  1766;  d.  Geneva,  Jan.  6, 
1831.  Pupil  of  father,  vlt.  in  the 
court  orchestra  and  of  Stamitz;  at 
16  father's  successor,  1790  solo  vlt. 
at  Th.  Italien  where  he  produced  1st 
opera;  Lodoiska,  best  of  his  40  operas, 
prod.  1791;  prof,  of  vln.  at  Cons. 
1795;  1797  tour  through  Holland, 
Germany,  and  Italy;  1798  at  Vienna, 
where  he  probably  met  Beethoven, 
who  dedicated  to  him  vln.  sonata, 
Op.  47  (called  Kreutzer  sonata);  on 
return  to  Paris,  wrote  famous  vln. 
method,  with  Rode  and  Baillot;  1801 
solo  vlt.,  1816  2d  condr.,  1817  1st 
condr.  at  Ope>a;  chamber  musician 
to  Napole'on  and  to  Louis  XVIII; 
retired  1825,  embittered  by  loss  of 
influence;  composed  15  quartets,  19 
concertos,  and  many  other  works  for 
vln.,  of  which  40  Etudes  ou  Caprices  is 
universally  recognized  as  invaluable. 

Kroeger  (kre^-ger),  Ernest  Richard, 
compr.  b.  St.  Louis,  Aug.  10,  1862. 
Study  of  pf.  and  vln.  began  early, 
but  until  23  music  was  secondary 
interest;  his  training  has  all  been  in 
America;  has  been  orgt.,  condr.,  head 
of  a  college  of  mus.,  chief  of  Bureau 
of  Mus.  for  St.  Louis  Exposition  of 
1904;  composed  symph.,  symph. 
poem  Sardanapalus  given  by  Seidl, 
overture  Hiawatha  with  genuine 
Indian  themes,  given  by  Thomas 
Orch.,  overture  Thanatopsis,  Ten 
American  Sketches  for  piano  (portray- 
ing Indian,  negro,  mountains,  prairie, 
etc.),  some  chamber  mus.,  ana  many 
pf.  pieces,  and  songs. 

Krogmann,  C.  W.,  compr.  b.  Danvers, 
Mass.  Lived  in  Boston  since  third 
year  of  age;  mother  was  an  organist 
and  other  members  of  the  family 
were  cultivated  musical  amateurs; 
graduated  from  Boston  High  School; 
musical  education  carried  on  under 
mother  and  Henry  Koerber,  of 


KRUG 

Boston;  began  writing  music  at  the 
age  of  twelve,  but  published  nothing 
until  1896;  compositions  include 
about  300  different  pieces  for  piano 
and  voice,  many  of  them  having 
marked  educational  value  as  well  as 
vogue  among  teachers. 

Krug  (kroog),  Arnold,  compr.  b.  Ham- 
burg, Oct.  16,  1849;  d.  there,  Aug. 
4,  1904.  Pupil  of  father,  Gurlitt, 
Reinecke;  winning  Mozart  scholar- 
ship 1869,  studied  with  Kiel  and 
Frank  in  Berlin;  pf.  teacher  at  Stern 
Cons.,  Meyerbeer  scholarship  en- 
abled him  to  study  in  France  and 
Italy;  1878  organizer  of  Gesang- 
verein  at  Hamburg,  teacher  at  Cons, 
after  1885,  condr.  of  Altona  Singakad- 
emie;  compr.  of  symph.,  overture 
Otello,  suite,  choral  works  (Sigurd, 
Nomadenzug,  etc.),  and  excellent  pf. 
music. 

Kruse  (kroo'-za),  Johann  Secundus, 
vlt.  b.  Melbourne,  Mar.  23,  1859. 
Appeared  in  public  at  9;  pupil  of 
Joachim  at  Berlin  Hochschule,  where 
he  later  taught;  1882  solo  vlt.  and 
sub-condr.  Berlin  Philharmonic ; 
1891  leader  Bremen  Philh.;  1892-97 
member  of  Joachim  Quartet;  1897 
in  London  founded  quartet,  1902- 
1904  organized  several  important  con- 
certs, revived  Saturday  Popular,  etc. 

Kubelik  (ku'-be-lik),  Jan,  vlt.  b. 
Michle,  near  Prague,  July  5,  1880. 
Excellently  taught  by  father,  a  gar- 
dener, 1892-98  at  Prague  Cons,  as 
pupil  of  Sevcfk;  d£but  1898  at  Vienna 
triumphant  success;  prolonged  tour 
on  Continent;  phenomenal  success  in 
London  at  Richter  concert,  June 
1900,  led  to  season  in  which  he  cap- 
tured all  the  musical  and  social 
honors;  American  tour  1901-02,  and 
1902-03,  though  widely  advertised, 
did  not  attain  the  same  success; 
called  a  modern  Paganini.  K's 
playing  is  most  remarkable  in  pas- 
sages of  difficult  technic,  rather 
than  in  those  of  emotional  beauty. 

Kiicken  (ku'-ken),  Friedrich  Wilhelm, 
compr.  b.  Bleckede,  Hanover,  Nov. 
16,  1810;  d.  Schwerin,  Apr.  3,  1882. 
Son  of  peasant;  pupil  of  brother-in- 
law  Liihrss  and  Aron;  member  of 
Duke's  orch.;  in  Berlin  1832,  studied 
under  Birnbach;  1841  in  Vienna 
under  Sechter;  1843-46  in  Paris 


KUHNAU 

under  HaleVy;  1851-61  capellmeister 
at  Stuttgart;  1861  resigned;  pro- 
duced several  operas,  but  is  chiefly 
known  as  compr.  of  very  popular 
songs  (Ach  war's  moglich  dann,  The 
Swallows,  etc.). 

Kufferath  (kuf'-fer-at),  Hubert  Ferdi- 
nand, ps£.  b.Miihlheim,  June  11, 1818; 
d.  Brussels,  June  23,  1896.  Pupil  of 
brothers  Johann  Hermann  K.  (1797- 
1864)  and  Louis  K.  (1811-1882)  and 
of  Hartmann,  David,  and  Mendels- 
sohn; condr.  male  chorus  at  Cologne 
1841^14;  teacher  of  royal  family  in 
Brussels;  after  1871  prof,  counter- 
point and  fugue  at  Cons.;  wrote 
symphonies,  concertos,  and  other  pf. 
music  and  Praktische  Chorschule;  son 
Maurice  (b.  Jan.  8, 1852),  able  writer, 
editor  of  Guide  Musical. 

Kuhe  (koo'-8),  Wilhelm,  pst.  b.  Prague, 
Dec.  10, 1823.  Studied  with  Proksch, 
Tomaschek,  andThalberg;  settled  in 
London  1845;  promoter  of  annual 
Brighton  Festivals  1870-82;  1886- 
1904  prof,  at  Royal  Academy;  com- 
posed graceful  pf.  music,  operatic 
fantasias,  etc.;  published  Recollec- 
tions, 1896. 

Kuhlau  (koo'-lou),  Friedrich  [Daniel 
Rodolph],  compr.  b.  Ulzen,  Han- 
over, Sept.  11,  1786;  d.  Copenhagen, 
Mar.  12,  1832.  Taught  harmony 
by  Schwenke  at  Hamburg;  went  to 
Copenhagen  1810  to  escape  conscrip- 
tion; taught  pf.  and  theory,  was 
royal  chamber  musician,  court  com- 
poser; produced  popular  operas, 
music  to  Heiberg's  Elverhoe,  pf. 
concertos,  sonatas,  and  sonatinas 
which  are  still  much  admired  and 
valuable,  especially  for  beginners. 

Kuhnau  (koo'-nou),  Johann,  compr. 
b.  Geising,  Saxony,  Apr.  6,  1660; 
d.  Leipzig,  June  5,  1722.  Pupil  of 
Hering  and  Albrici  at  Dresden 
Kreuzschule;  cantor  at  Zittau;  1682 
went  to  Leipzig,  where  he  was  orgt . 
at  St.  Thomas's;  1701  mus.  dir.  of 
Univ.,  and  cantor,  preceding  Bach; 
wrote  books  on  musical  theory, 
motets,  etc.;  greatest  clavier  compr. 
before  Bach;  memorable  as  first 
compr.  of  sonata  as  a  piece  in  several 
movements,  not  collection  of  dance 
tunes;  his  Biblische  Historien  nebst 
Auslegung  in  sechs  Sonaten  also 
early  example  of  program  music. 


KULLAK 


LACHNER 


Kullak  (kool'-lak),  Theodore,  pst., 
teacher,  b.  Krotoschin,  Posen,  Sept. 
12,  1818;  d.  Berlin,  Mar.  1,  1882. 
Student  of  medicine,  and  at  same 
time  of  music  with  Agthe  and  Dehn; 
later  studied  in  Vienna  with  Czerny, 
Sechter,  and  Nicolai;  1846  court  pst. 
in  Berlin;  1850  with  Stern  and  Marx 
founded  Berlin  Cons.,  later  Stern 
Cons.;  1855  founded  own  school, 
where  many  famous  pupils  (Schar- 
wenkas,  Sherwood,  Mees,  Stern- 
berg,  etc.)  were  trained;  composed 
much  effective  pf.  music  and  valu- 
able instructive  works,  notably  School 
of  octave-playing.  Son  Franz,  teacher. 
b.  Berlin,  Apr.  12,  1844.  Studied 
with  father,  Wieprecht,  and  Liszt; 
1867  taught  pf.  and  orch.  in  father's 
academy,which  he  directed  from  1882 
until  its  closing  in  1890. 

Kunkel,  Charles,  compr.,  pst.,  teacher. 
b.  Sippersfeld,  Germany,  July  22, 
1840.  Early  study  directed  by  his 
father  (who  came  to  the  U.  S.  in 
1848),  later  he  was  a  pupil  of  Gott- 
schalk  and  Thalberg;  with  his  brother 
Jacob,  he  won  special  recognition 
for  ensemble  playing;  located  at  St. 
Louis,  Mo.  where  he  still  lives  (1910) ; 
his  list  of  compositions  is  a  large  one; 
probably  the  best-known  piece  is  his 
Alpine  Storm;  wrote  also  under  the 
nom  de  plume  Carl  Sidus;  at  the 


death  of  his  brother  in  1882,  he 
became  head  of  the  publishing  busi- 
ness of  Kunkel  Bros,  and  editor  of 
Kunkel' s  Musical  Review;  author 
of  Royal  Piano  Method. 

Kunkel,  Jacob,  pst.,  compr.,  pub.  b. 
Kleiniedsheim,  Germany,  Oct.  22, 
1846;  d.  St.  Louis,  Mo.,  Oct.  16,  1882. 
Musical  education  mainly  directed 
by  his  brother  Charles;  founder  of 
publishing  house  of  Kunkel  Bros., 
St.  Louis,  and  of  Kunkel's  Musical 
Review;  composed  drawing-room 

E'eces  which  had  considerable  popu- 
rity. 

Kunz  (koonts),  Conrad  Max,  compr. 
b.  Schwandorf,  Dec.  30,  1812;  d. 
Munich,  Aug.  3,  1875.  Studied  with 
Stuntz  at  Munich;  founded  with 
others  and  conducted  Munich  Lied- 
ertafel;  composed  many  very  popular 
vocal  quartets,  and  200  Canons  for 
pf.,  short  technical  studies. 

Kwast  (kvast),  James,  pst.  b.  Nijkerk, 
Holland,  Nov.  23,  1852.  Taught  by 
father,  by  Bohme,  at  Leipzig  Cons, 
by  Reinecke,  Richter,  etc.,  at  Berlin 
by  Kullak  and  Wuerst,  and  at  Brus- 
sels by  Brassin  and  Gevaert;  1874 
teacher  at  Cologne  Cons.,  1883  at 
Hoch  Cons.,  Frankfort;  composed 
concerto,  trio,  and  other  pf .  mus. 


Labitzky  (la-bit'-ski),  Joseph,  compr. 
b.  Schonfeld,  Bohemia,  July  4,  1802; 
d.  Carlsbad,  Aug.  18,  1881.  Pupil 
of  Veit  at  Petschau;  1st  vln.  Marien- 
bad  orch.  1820,  of  Carlsbad  orch. 
1821:  toured  S.  Germany  with  own 
orch.;  after  study  with  Winter  in 
Munich,  leader,  of  Carlsbad  orch. 
1835,  and  later  went  with  this  band 
to  England,  Russia,  etc.;  composed 
dance  music  in  style  of  Strauss.  Sons 
August  (1832-1903),  condr.,  associate 
director  with  father,  and  Wilhelm, 
vlt.,  lived  in  Canada. 

Lablache  (la-blash),  Luigi,  bass.  b. 
Naples,  Dec.  6,  1794;  d.  there,  Jan. 
23,  1858.  Pupil  of  Valesi  at  Cons, 
della  Pieta  de'Turchini;  1818  de"but 
at  San  Carlino  Th.,  Naples;  married 
Teresa  Pinotti;  appeared  at  Messina, 


Palermo,  Milan  1817-22,  Venice, 
Vienna,  finally  Paris,  and  London 
1830,  after  which  he  was  recognized 
as  greatest  bass  of  time;  sang  con- 
tinually in  Paris  and  London  until 
retirement  in  1856.  Voice  remark- 
able for  range  of  2  octaves  (Et>  to 
e'b),  for  flexibility,  volume,  and  bell- 
like  quality;  though  of  enormous 
bulk,  was  admirable  actor;  greatest 
part  Leporello  in  Don  Giovanni. 

Lachner  (lak'-ner),  Franz,  compr.  b. 
Rain,  Upper  Bavaria,  Apr.  2,  1803; 
d.  Munich,  Jan.  20,  1890.  Pupil  of 
father,  orgt.,  of  Ett  in  Munich,  and 
of  Stadler,  Sechter,  and  Weigl  in 
Vienna,  earning  his  living  mean- 
while as  orgt.  and  vlt.;  intimate  with 
Schubert,  acquainted  with  Beetho- 
ven; capellmeister  at  Vienna,  and 


LACK 


LAMOTHE 


founder  of  Philh.  concerts,  capellm. 
at  Mannheim  1834,  at  Munich  1836, 
general  court  director  there  until 
retirement  1862;  wrote  4  operas, 
8  orch.  suites,  8  symph.,  etc.  Bro- 
thers Ignaz,  condr.,  compr.  (1807- 
1895)  and  Vincenz,  compr.  b.  Rain, 
July  19,  1811;  d.  Carlsruhe,  Jan.  22, 
1893.  Studied  with  father  and  with 
brothers;  succeeded  Ignaz  as  orgt. 
at  Vienna  1831  and  Franz  as  court 
capellm.  Mannheim  1836-1873; 
condr.  of  German  opera  London 
1842,  opera  in  Frankfort  1848;  lived 
in  Carlsruhe  after  1873,  taught  in 
Cons,  after  1884;  composed  popular 
part-songs  (Alt  Heidelberg,  etc.). 

Lack  (lak),  [Marie]  Theodore,  pst., 
compr.  b.  Quimper,  Finistere, 
France,  Sept.  3,  1846.  Studied  at 
Paris  Cons,  with  Bazin  and  Mar- 
montel;  since  1863  teaching  in  Paris; 
officer  of  Acad.  1881,  of  public  in- 
struction 1887;  published  large  num- 
ber of  educational  and  technical 
works  of  all  degrees  of  difficulty,  and 
salon  pieces  noteworthy  for  charm 
of  melody  and  individuality. 

Lacombe  (la-konbe'),  Louis  [pseud,  of 
L.  Trouillon],  compr.  b.  Bourges, 
Nov.  26,  1818;  d.  St.  Vaast-la- 
Hougue,  Sept.  30,  1884.  Studied  at 
Paris  Cons,  with  Zimmermann;  1st 
prize  1831;  1832  tour  as  pst.;  1834-39 
in  Vienna,  pupil  of  Czerny,  Seyfried, 
etc.;  after  1839  in  Paris,  teaching, 
composing  popular  pf.  music,  3 
operas  (La  Madone  only  prod,  during 
his  life),  prize  melodrama  with 
choruses  Sapho,  2  dram,  symph. 
(Manfred,  Arva),  etc.;  wrote  essay 
on  Philosophic  et  musique. 

Lacome  (la-corn'),  Paul  [properly  Paul 
Jean  Jacques  Lacome  de  1'Estalenz], 
compr.  b.  Houga,  Gers,  France,  Mar. 
4,  1838.  After  study  in  native  place , 
came  to  Paris  where  his  operetta 
won  prize;  composed  several  popular 
operettas  (La  marechale  Chaudron, 
Les  quatrefittesAymon,  etc.), works  for 
wind  instruments,  pf.  trio,  org.  mus. 
and  songs  (notably  Estvdiantina) . 

Lafont  (la-fon),  Charles  Philippe,  vlt. 
b.  Paris,  Dec.  1,  1781;  d.  near  Bag- 
neres-de-Bigorre,  Aug.  14,  1839. 
Studied  with  uncle  Bertheaume, 
Kreutzer,  and  Rode;  after  many 
concert  tours,  chamber  musician  at 


St.  Petersburg  1808;  court  vlt.  in 
Paris  1815;  1816  contest  with 
Paganini  at  Milan;  1831-39  long 
tour  with  pst.  Herz;  composed  7 
vln.  concertos,  about  200  vocal 
romances,  2  comic  operas,  etc. 

Lalo  (la-lo),  Edouard  [Victor  Antoine], 
compr.  b.  Lille,  Jan.  27,  1823;  d. 
Paris,  Apr.  22,  1892.  Vln.  pupil  at 
Lille  Cons,  of  Baumann;  1st  in  Paris 
in  Armingaud-Jacquard  quartet; 
composed  operas  Fiesque  (never  per- 
formed), La  Jacquerie  (finished  by 
Coquard,  perf.  1895),  Le  roi  d'Ys 
(1888,  most  notable  for  power  and 
characterization);  2  vln.  concertos 
(especially  Symph.  espagnole  for  vln. 
and  orch.),  Rhapsodie  norvegienne, 
etc.;  ballet  Namouna  from  which  two 
orch.  suites  were  arranged;  notable 
especially  for  orchestration  of  delicate 
and  picturesque  originality. 

Lambert,  Alexander,  pst.  b.  Warsaw, 
Nov.  1,  1862.  Pupil  of  father  Henry, 
at  Vienna  Cons,  of  Epstein,  at  Berlin 
of  Urban  in  comp.;  after  concerts  in 
New  York  1881,  in  Germany  and 
Russia,  pupil  for  few  months  of 
Liszt;  came  to  America  1884;  gave 
concerts  until  1892;  1888  director 
N.  Y.  Coll.  of  Mus.;  compositions 
for  pf.  and  technical  works. 

Lambillotte  (lan-bi-yof),  Louis,  writer, 
compr.  b.  Charleroi,  Hainault,  Mar. 
27,  1797;  d.  Vaugirard,  Feb.  27,  1855. 
Orgt.  at  Charleroi  and  Dinant;  mas- 
ter of  chapel  of  St.  Acheul  at  Jesuit 
Seminary;  became  Jesuit  1825;  com- 
posed 4  masses  and  other  church 
music;  published  Antiphonaire  de 
St.  Gatt  with  notes,  and  essays  on 
plain  song. 

Lamond',  Frederick  A.,  pst.  b.  Glas- 
gow, Jan.  28,  1868.  Pupil  of  brother 
David;  orgt.  at  Laurieston;  studied 
at  Raff  Cons.,  Frankfort,  with 
Max  Schwarz,  etc.,  then  with  Von 
Billow  and  Liszt;  d6but  Berlin  1885; 
Glasgow  and  London  1886;  Russia 
1896,  Paris  1899,  U.  S.  1902;  es- 
pecially distinguished  as  player  of 
Beethoven;  gives  recitals  entirely  of 
B's  sonatas. 

Lamothe  (la-mot),  Georges,  compr.  b. 
1837;  d.  Courbevoie,  near  Paris,  Oct. 
15,  1894.  Skilful  organist;  compr. 
of  popular  dance  music. 


LAMOUREUX 


LANNER 


Lamoureux  (la-mo-re"),  Charles,  condr. 
b.  Bordeaux,  Sept.  21,  1834;  d.  Paris, 
Dec.  21,  1899.  Studied  at  Paris 
Cons,  with  Girard,  etc.,  winning  1st 
prize  1854;  solo  vlt.  at  Th.  Gymnase, 
then  at  Opera;  with  Colonne,  Adam, 
and  Pilet  founded  society  for  cham- 
ber music  1860;  founded  Soc.  de 
1'harmonie  sacree  1873,  which  gave 
excellent  performances  of  old  and 
new  oratorios;  sub-condr.  Concerts 
du  Cons.  1872-77;  condr.  of  Ope>a 
Comique  1876-77;  of  Ope>a  1877-79; 
founded  1881  Nouveaux  Concerts, 
known  as  Lamoureux  Concerts, 
especially  important  for  presentation 
of  many  works  of  new  French  school 
and  contemporary  Germans;  1887 
managed  1st  perf.  of  Lohengrin  in 
Paris. 

Lamperti  (lam-par'-ti),  Francesco, 
singing  teacher,  b.  Savona,  Italy, 
Mar.  11, 1813;  d.  Como,  May  1, 1892. 
Studied  at  Milan  Cons.,  where  he 
taught  1850-75;  then  gave  private 
lessons;  published  books  and  exer- 
cises on  singing;  followed  old  Italian 
method,  aiming  at  pure  tone  pro- 
duction; among  many  famous  pupils 
are  Albani,  Sembrich,  Campanini, 
Cruvelli,  Artot,  Win.  Shakespeare. 
His  son,  Giovanni  Baptista  L.,  also 
singing  teacher,  b.  1840;  d.  Berlin, 
March  18,  1910.  Known  as  the 
"  Younger  Lamperti,"  and  an  expon- 
ent of  his  father's  methods.  Taught 
first  in  Milan,  then  in  Paris,  and  later 
in  Dresden;  Sembrich  one  of  his 
pupils;  wrote  solfeggi  and  vocalises, 
ana  The  Technics  of  Bel  Canto,  origi- 
nally in  German,  translated  into 
English  1905. 

Landowska  (lan-dof'-ska),  Wanda,  pst., 
harpsichord  player,  b.  Warsaw,  1877. 
Pupil  of  Michalowski  at  Conserva- 
tory and  of  Urban  and  Moszkowski; 
has  played  much  in  European  cities, 
specializing  on  the  harpsichord;  lives 
in  Paris,  author  of  Bach  et  ses  inter- 
preter (1906)  and  La  musique  an- 
cienne  (1908). 

Lang,  Benjamin  Johnson,  pst.,  condr. 
b.  Salem,  Mass.,  Dec.  28,  1837;  d. 
Boston,  Apr.  3,  1909.  Studied  with 
his  father,  F.  G.  Hill,  Jaell,  Satter, 
and  Liszt  (1885);  orgt.  in  Boston  at 
Old  South  Church  and  King's 
Chapel,  and  for  Handel  and  Haydn 
Soc.  25  years;  condr.  of  H.  and  H. 


Soc.  1895-96,  of  Apollo  Club  1868- 
1901,  of  Cecilia  Society  1874-1907, 
of  Chickering  Production  Concerts 
1904;  teacher  of  Apthorp,  Foote, 
Nevin,  etc.;  of  great  importance  to 
musical  life  in  Boston  as  organizer 
of  these  societies  and  as  condr.  of 
important  and  new  works  (from 
Bach's  B  minor  Mass  to  Elgar's 
Gerontius)  and  as  organizer  of  special 
productions  such  as  concert  per- 
formances of  Parsifal  1891  and  1903; 
at  his  best  as  choral  condr.  and  in 
executive  accomplishment.  His 
daughter  Margaret  Ruthven,  compr. 
b.  Boston,  Nov.  27,  1867.  Studied 
with  father,  and,  in  Munich,  vln. 
with  Drechsler  and  Abel,  comp.  with 
Gluth  in  Munich  and  Chadwick  in 
Boston;  composed  2  overtures,  arias 
with  orch.,  performed  by  American 
orchestras,  but  is  most  successful  in 
smaller  works  for  pf.  and  songs,  many 
of  which  have  been  published. 

Lange  (lang'-a),  Gustav,  compr.  b. 
Schwerstedt,  near  Erfurt,  Aug.  13, 
1830;  d.  Wernigerode,  July  19,  1889. 
Studied  with  A.  W.  Bach,  Grell,  and 
Loeschhorn;  composed  several  hun- 
dred effective  pf.  pieces,  which  have 
been  very  popular. 

Langey  (lang'-e),  Otto,  'cellist.  b. 
Leichholz,  Oct.  20,  1851.  Studied 
with  Specht,  Ullrich,  Cabisius,  and 
Fritze;  1877  played  in  London  under 
Halle"  and  Richter;  directed  operas 
and  concerts;  since  1889  teaching  in 
N.  Y.;  issues  Langey  Tutors,  special 
studies  for  different  orch.  instru- 
ments. 

Langhans  (lang'-hans),  Friedrich  Wil- 
helm,  writer,  b.  Hamburg,  Sept.  21, 
1832;  d.  Berlin,  June  9,  1892.  Pupil 
of  David  and  Richter  at  Leipzig 
Cons,  and  of  Alard  at  Paris;  vlt.  at 
Leipzig  Gewandhaus;  after  living  in 
several  cities,  settled  in  Berlin  1871; 
teacher  of  hist,  of  mus.  at  Kullak's 
Cons.  1874,  at  Scharwenka  Cons. 
1881;  composed  unimportant  vln. 
music,  wrote  valuable  hist,  works, 
chiefly  Geschichte  der  Musik  des  17, 
18,  und  19  Jahrhunderts,  as  continua- 
tion of  Ambros's  history. 

Lanner,  Joseph  [Franz  Karl],  compr. 
b.  Oberdobling,  near  Vienna,  Apr. 
12,  1801;  d.  there,  Apr.  14,  1843. 
Self-taught  in  vln.  and  comp.;  led 


LARA 

quartet  in  which  Joh.  Strauss  played 
viola;  organized  orch.  for  which  he 
composed  dance  music  and  with 
which  he  gave  concerts  in  Austria; 
alternately  with  Strauss  condr.  at 
court  balls;  originated  modern  Vien- 
nese waltz;  his  dance  music  deser- 
vedly popular  in  his  day,  full  of 
national  gaiety  and  personal  charm. 

Lara  (la'-ra),  Isidore  de,  compr.  b. 
London,  Aug.  9,  1858.  Real  name 
said  to  be  Cohen;  studied  at  Milan 
Cons,  winning  1st  prize  for  comp. 
at  17;  composed  love  songs  which 
won  great  drawing-room  popularity; 
after  1892  known  as  opera  compr., 
chiefly  of  Messaline  which  had  suc- 
cess at  Monte  Carlo  and  London 
1899,  and  New  York  1902,  with  Calve 
in  leading  role. 

Lassen  (las'-sen),  Eduard,  compr.  b. 
Copenhagen,  Apr.  13,  1830;  d. 
Weimar,  Jan.  15,  1904.  Moved  to 
Brussels  at  2;  studied  at  Cons,  there, 
winning  Prix  de  Rome  1851;  1857 
Liszt  brought  about  production  of 
his  opera  in  Weimar;  Lassen  suc- 
ceeded Liszt  as  court  capellmeister 
1861-95;  produced  Tristan  und 
Isolde  1874, first  time  outside  Munich; 
composed  2  other  operas,  2  sympho- 
nies, music  to  several  plays,  notably 
to  Goethe's  Faust,  Te  Deum,  etc. 

Lasso,  Orlando  di  [Roland  de  Lattre, 

Orlandus  Lassus],  compr.  b.  Mons, 
Hainault,  1532;  d.  Munich,  June  14, 
1594  [other  dates  are  b.  1520  or  1530; 
d.  1595].  As  boy  chorister  at  Mons 
said  to  have  been  thrice  kidnapped 
because  of  beautiful  voice;  visited 
Sicily,  Milan,  Naples,  Rome,  where 
he  was  director  of  mus.  at  St.  John 
Lateran  1541  or  1551;  visited  Eng- 
land about  1554;  then  settled  in 
Antwerp  until  1556  or  '57,  when  he 
became  director  of  chamber  mus.  for 
Duke  of  Bavaria;  remained  at 
Munich  until  death,  except  for 
visits  to  Italy  and  France  (to  court 
of  Charles  IX,  1571).  Composed 
about  1600  sacred  pieces  ana  800 
secular  ones;  his  sons  published 
Magnum  opus  musicum  (motets  and 
madrigals)  in  1604;  complete  edi- 
tion under  editorship  of  Haberl  and 
Sandberger  for  Breitkopf  and  Hartel, 
begun  1894,  will  fill  60  volumes; 
Seven  Penitential  Psalms  possibly 


LAVOIX 

most  famous  work;  "  genius  towered 
above  that  of  all  his  contemporaries 
except  Palestrina;  L.  exhibited  the 
greater  breadth  and  fertility,  though 
he  was  not  as  essentially  ideal  in 
purely  ritual  music;  his  warmth  of 
human  sympathy  made  his  impress 
upon  progress  wider."  [Pratt.] 

Laub  (loub),  Ferdinand,  vlt.  b.  Prague, 
Jan.  19,  1832;  d.  Gries,  Tyrol,  Mar. 
17,  1875.  Studied  with  Mildner 
at  Prague  Cons.;  played  in  public 
regularly  after  age  of  9;  went  to 
Vienna,  Paris,  and  London;  concert- 
master  at  Weimar  1853;  at  Berlin, 
concertmaster  of  court  orch.,  leader 
of  quartet,  teacher  at  Stern  Cons.; 
at  Moscow  1866-74,  prof,  at  Cons., 
1st  vln.  in  Musikgesellschaft;  re- 
markable for  powerful  playing  of 
large  repertoire;  composed  solo  pieces, 
well-known  Polonaise,  etc. 

Lavallee  (la-val-la),  Calixa,  pst.  b. 
Vercheres,  Canada,  Dec.  28,  1842; 
d.  Boston,  Mass.,  Jan.  21,  1891. 
Pupil  of  father,  of  Marmontel  and 
Bazin  at  Paris  Cons.;  debut  at  10; 
solo  pst.  with  Gerster's  first  Ameri- 
can tour;  settled  in  Boston;  promi- 
nent in  Mus.  Teachers'  Nat'l  Ass'n; 
gave  recitals  of  American  composers' 
works;  composed  2  operas,  oratorio, 
symph.,  and  many  smaller  works; 
best  known  pf.  piece  The  Butterfly. 

Lavignac  (la- vi-nyak),  [Alexandra  Jean] 
Albert,  writer,  b.  Paris,  Jan.  22, 
1846.  Carried  off  many  prizes  as 
•  pupil  at  Paris  Cons.,  where  he  be- 
came teacher  of  solfeggio  1881,  and 
prof,  of  harmony  1891;  valuable 
works  on  solfeggio  and  on  musical 
dictation;  widely  known  for  La 
musique  et  les  musiciens,  of  which  it 
has  been  said  that  it  is  the  one  book 
for  a  student  to  own  if  he  can  have 
but  one,  and  for  Voyage  artistique 
a  Bayreuth  (transl.  as  The  Music 
Dramas  of  R.  Wagner)  one  of  best 
thematic  and  literary  guides  to  the 
operas  of  Wagner;  Musical  Education 
(1902),  Les  gaietes  du  Conservatoire; 
associate  editor  Dictionnaire  encyclo- 
pedique,  to  be  issued  by  Conservatory 
at  Paris. 

Lavoix  (la-vo-a),  Henri  Marie  Francois, 
writer,  b.  Paris,  Apr.  26,  1846;  d. 
there,  Dec.  27,  1897.  Called  "L.  fils" 
to  distinguish  from  father,  custodian 


LAWES 

of  numismatics  at  Paris  Nat'l  Li- 
brary; grad.  Paris  Univ.;  studied 
harm,  and  counterpoint  with  Cohen; 
librarian  Nat'l  Library  after  1865; 
contributor  to  Revue  et  gazette  musi- 
cale;  author  of  Les  traducteurs 
de  Shakespeare  en  musique,  and  his- 
torical works,  especially  Histoire 
de  I' instrumentation,  and  Histoire 
de  la  musique. 

Lawes,  Henry,  compr.  b.  Dinton,  near 
Salisbury,  Dec.,  1595;  d.  London, 
Oct.  21,  1662.  Pupil  of  Coperario; 
1625  epistler  and  gentleman  of  Chap- 
el Royal;  music  teacher  in  family  of 
Earl  of  Bridgewater;  reinstated  in 
all  positions  at  Restoration  1660; 
wrote  music  for  Milton's  Comus  and 
other  masques,  paraphrases  on  the 
psalms,  and  Ayres  and  Dialogues  for 
1,  2,  and  3  voices;  admired  by  con- 
temporaries as  singer  as  well  as 
compr. 

Lazarus,  Henry,  clarinet  player,  b. 
London,  Jan.  1,  1815;  d.  there,  Mar. 
6,  1895. '  Pupil  of  Blizard  and  Chas. 
Godfrey,  Sr.;  debut  1838;  2d  clar. 
at  Sacred  Harmonic  Concerts;  1840, 
on  death  of  Willman,  1st  clar.  there, 
at  opera,  and  at  important  concerts 
and  festivals;  prof,  at  Royal  Acad. 
and  at  Military  School  of  Music;  re- 
tired 1891;  composed  clar.  pieces. 

Lebert  (la'-bert),  Siegmund  [pseud,  of 
S.  Levy],  teacher,  b.  Ludwigsburg, 
Dec.  12,  1822;  d.  Stuttgart,  Dec.  8, 
1884.  Studied  at  Prague  Cons,  with 
Tomaschek,  D.  Weber,  and  Proksch; 
taught  in  Munich;  1856-57  with 
Faisst,  Stark,  Brachmann,  and  Spei- 
del  founded  Stuttgart  Cons.;  pub- 
lished, with  Stark,  Grosse  Klarier- 
schule,  edited  classic  pf.  works;  had 
many  famous  pupils,  but  method  is 
no  longer  in  favor. 

Lebrun  (le-bran),  Paul  Henri  Joseph, 
compr.  b.  Ghent,  Apr.  21,  1861. 
Pupil  at  Ghent  Cons,  of  A.  Samuel 
and  Ch.  Miry;  Prix  de  Rome  1891; 
succeeded  Miry  as  teacher  of  theory 
at  Ghent;  director  of  Orphe"on  at 
Cambrai,  and  of  Cercle  artistique; 
composed  opera  La  fiancee  d'Abydos, 
prize  symph.  and  other  orchestral 
works,  choruses,  etc. 

Leclair  (le'-klar),  Jean  Marie,  vlt.  b. 
Paris,  May  10,  1697;  d.  there,  Oct. 
22,  1764.  Ballet  dancer  at  Rouen; 


LEGRENZI 

balletmaster  at  Turin;  Somis,  at- 
tracted by  his  compositions,  induced 
him  to  study  vln.;  in  Paris  after  1729 
obtained  insignificant  post  at  opera 
and  royal  orch.;  after  1736  private 
teacher  and  compr.;  murdered,  for 
no  discovered  reason;  compositions, 
notably  48  sonatas  for  vln.,  are  of 
great  value,  equaling  in  originality 
and  charm  and  exceeding  in  diffi- 
culty most  contemporary  works. 

Lecocq  (le'-kok'),  Alexandra  Charles, 
compr.  b.  Paris,  June  3,  1832. 
Pupil  at  Paris  Cons,  of  Bazin  and 
HaleVy,  winning  2  prizes;  1857,  with 
Bizet,  won  prize  offered  by  Offen- 
bach for  opera  buff  a;  after  repeated 
failures,  period  as  teacher  and  orgt., 
won  success  with  Fleur  de  the  1868, 
closely  followed  by  La  fille  de  Mme. 
Angot  and  Girofle-Girofla;  com- 
posed over  40  comic  operas  in  style 
of  Offenbach,  skilful  but  never  deep 
in  construction,  full  of  delightful 
gaiety  and  spirit. 

Le  Couppey  (16-ko-pa),  Felix,  pst.  b. 
Paris,  Apr.  14,  1811;  d.  there,  July 
5,  1887.  Studied  at  Paris  Cons, 
with  Dourlen;  asst.  teacher  there 
1828,  prof.  1843,  substitute  for  Herz 
1848;  wrote  instruction  books  for 
pf.  A  B  C  du  piano,  Ecole  du  mecan- 
isme,  De  I'enseignement  du  piano 
(Advice  to  Young  Teachers). 

Lefebure-Wely  (le'-fa-biir-va'-li),  Louis 
James  Alfred,  orgt.  b.  Paris,  Nov. 
13,  1817;  d.  there,  Dec.  31,  1869. 
Pupil  of  father,  orgt.  at  St.  Roch, 
and  successor  at  14;  pupil  at  Paris 
Cons,  of  Benoist  for  org.,  Berton 
and  HaleVy  for  comp.,  and  privately 
of  Adam  and  S6jan;  orgt.  at  Made- 
leine 1847-58,  at  St.  Sulpice  1863- 
69;  remarkable  orgt.;  especially  for 
original  improvisations;  compr.  of 
almost  all  styles,  notably  of  fan- 
tasias for  org.,  offertories,  an  O  Salu- 
taris,  etc.;  notable  player  on  and 
compr.  for  harmonium. 

Legrenzi  (le-grent-zi),  Giovanni,  compr. 
b.  Clusone,  near  Bergamo,  about 
1625;  d.  Venice,  May  26,  1690. 
Pupil  of  Pallavicino;  orgt.  at  Ber- 
gamo, maestro  di  cappella  at  Ferrara, 
director  Cons,  dei  mendicanti  at 
Venice,  later  maestro  at  St.  Mark's, 
where  he  reorganized  and  enlarged 
orch.;  composed  operas,  motets,  and 


LEHMANN 


LEMOINE 


instrumental  music  of  various  kinds; 
strengthened  orch.  accompaniment, 
composed  early  chamber  music,  es- 
pecially vln.  sonatas. 

Lehmann,  Amelia,  see  under  Leh- 
mann,  Liza. 

Lehmann  (la'-man),  George,  vtt.  b. 
New  York,  July  31,  1865.  Studied 
at  Leipzig  Cons,  with  Schradieck, 
Hermann,  Jadassohn,  etc.,  and  at 
Berlin  with  Joachim;  traveled  as 
soloist  and  leader  of  quartet;  leader 
Cleveland  orch.  1886-89;  teaching  in 
N-.  Y.;  1907  in  Berlin;  critic  for 
Musical  America,  etc.;  author  of  True 
Principles  of  Art  of  Violin  Playing. 

Lehmann,  Lilli,  dram.  sop.  b.  Wiirz- 
burg,  May  15,  1848.  Pupil  of 
mother  Marie,  prima  donna  at 
Kassel;  de"but  at  Prague;  engaged  at 
Danzig,  Leipzig  1870,  and  life  en- 
gagement at  Berlin  Opera  1876; 
sang  Bayreuth  1876;  appeared  Lon- 
don in  1880  and  successive  seasons; 
broke  Berlin  contract  to  stay  in 
America  where  she  sang  1885-92; 
after  illness  reappeared  at  Bayreuth 
1896;  has  since  then  sung  in  Amer- 
ica; married  Paul  Kalisch,  tenor, 
1888;  great  dramatic  artist,  espe- 
cially in  Wagner  operas;  published 
Meine  Gesangskunst,  1902. 

Lehmann,  Liza  [real  name  Elizabetta 
Nina  Mary  Frederika],  compr.  b. 
London,  July  11,  1862.  Daughter  of 
painter  Rudolf  L.  whose  wife,  also 
compr.,  nee  Amelia  Chambers,  com- 
posed and  arranged  many  songs 
under  initials  A.  L.  Liza  studied 
with  mother,  Randegger,  Rannkilde, 
MacCunn,  etc.;  de"but  as  concert 
singer  1885,  followed  by  success 
until  marriage  to  Herbert  Bedford 
(b.  1867),  compr.  of  opera  and 
several  arias  for  voice  and  orch.; 
compr.  of  song-cycle  In  a  Persian 
Garden,  and  other  cycles  and  songs. 
Visited  U.  S.  in  1909,  1910. 

Le  Jeune  (le-zhe"n),  Claude,  compr.  b. 
Valenciennes,  1540  for  1528];  d. 
Paris,  Sept.  23,  1564.  Lived  in 
Paris;  compr.  to  the  king  for  a  short 
time;  beside  French  songs  his  chief 
composition  is  setting  of  psalms 
(occasionally  to  melodies  used  by 
Goudimel)  with  simple  and  beautiful 
accompaniments,  work  much  used 
in  Switzerland  and  Germany. 


Lekeu  (le-ke),  Guillaume,  compr.  b. 
Neusy,  Belgium,  Jan.  20,  1870;  d. 
Angers,  Jan.  21,  1894.  Pupil  at 
Verviers  Cons,  and  in  Paris  of  Franck 
and  d'Indy;  composed  symph.  poem 
Hamlet,  fantasia  for  orch.,  sonata  for 
vln.  and  pf.,  trio,  and  unfinished  pf. 
quartet  of  singularly  poetic  promise. 

Lemaire  (le-mar'),  Jean  Eugene  Gaston, 
compr.  b.  Sept.  9,  1854.  Pupil  of 
the  Ecole  Niedermeyer;  music  critic 
1888;  compositions  include  orches- 
tral works,  ballets,  pantomimes  and 
operettas,  piano  pieces  and  songs. 

Lemare  (le-mar'),  Edwin  Henry,  orgt. 
b.  Ventnor,  Isle  of  Wight,  Sept.  9, 
1865.  Student  and  fellow  at  Royal 
Acad.,  and  fellow  of  Royal  Coll.  of 
orgts.;  several  appointments  at  Car- 
diff, Sheffield,  and  London;  1902-04 
orgt.  and  director  at  Carnegie  Hall, 
Pittsburg;  returned  to  London;  dis- 
tinguished as  performer,  especially 
in  producing  orchestral  effects;  com- 
positions for  org. 

Lemmens  (lem'-mans),  Jacques  Nico- 
las, orgt.  b.  Zoerle-Parwys,  Belgium, 
Jan.  3,  1823;  d.  Castle  Linterport, 
near  Malines,  Jan.  30,  1881.  Pupil 
of  father,  of  Van  der  Broeck,  at 
Brussels  Cons,  of  F6tis,  winning  1st 
prize,  at  Breslau  at  gov't  expense 
of  A.  Hesse;  1849  prof,  at  Cons.; 
teacher  of  many  famous  pupils 
(Mailly,  Callaerts,  etc.);  after  mar- 
riage 1857  to  Helene  Sherrington 
(b.  Oct.  4,  1834),  singer  (pupil  at 
Brussels,  concert  singer  in  England, 
in  opera  after  1860),  L.  lived  in  Eng- 
land; 1879  opened  training  school 
for  church  orgts.  and  choirmasters 
at  Mechlin;  many  valuable  composi- 
tions, method,  notable  for  influence 
toward  bettering  of  org.  and  in- 
creasing interest  in  Bach. 

Lemoine  (le-mo-an),  Henri,  pf.  teacher, 
publisher,  b.  Paris,  Oct.  21,  1786; 
d.  there,  May  18,  1854.  Pupil  at 
Cons.  1798-1809;  very  successful  pf. 
teacher;  1817  succeeded  to  publishing 
business  of  father  Antoine  Marcel  L. 
(1763-1817),  guitar  and  viola  player, 
th.  condr.  at  Paris.  Henri  published 
educational  pf.  works,  an  elementary 
method,  simple  harmony,  etc.;  pub- 
lishing business  continued  by  his  son 
Achille  Philibert  L.  (1813-1895),  and 
grandsons  Henri  L.  and  Leon  L. 


LENEPVEU 


LESSMANN 


Lenepveu  (le'-nd-ve),  Charles  Ferdi- 
nand, compr.  b.  Rouen,  Oct.  4, 1840; 
d.  August,  1910.  In  Paris  as  law  stu- 
dent, studied  solfeggio  with  Savard; 
prize  cantata  induced  him  to  study 
with  A.  Thomas  at  Cons.,  where  he 
won  Prix  de  Rome  1865;  opera  Le 
Florentin,  accepted  1867,  performed 
1874  without  success;  Vetteda  in 
London  1882;  also  composed  several 
works  (cantata,  hymn,  ode,  etc.) 
on  Jeanne  d'Arc;  teacher  of  harmony 
at  Cons.  1880,  prof.  1894;  more  suc- 
cessful as  teacher  than  as  compr. 

Leo  (la'-6),  Leonardo,  compr.  b.  San 
Vito  degli  Schiavi,  Brindisi,  1694; 
d.  Naples,  Oct.  31,  1744.  Pupil  at 
Cons,  della  Pieta  de'  Turchini  of 
Provenzale  and  Fago  (probably  not 
directly  of  Scarlatti  and  Pitoni); 
2d  maestro  at  Cons,  and  1st  at 
Cathedral;  1st  orgt.  at  royal  chapel 
1725;  master  at  Cons,  di  San  Ono- 
frio,  where  he  taught  Piccinni,  Jom- 
melli,  etc.;  beside  about  60  operas, 
full  of  brilliant  life  and  humor,  com- 
posed masses  and  church  music 
(notably  a  Miserere);  advance  over 
other  Neapolitans  in  sureness  of 
harmonic  effects. 

Leonard  (la-6-nar),  Hubert,  vU.,  teacher, 
b.  Bellaire,  near  Li6ge,  Apr.  7,  1819; 
d.  Paris,  May  6,  1890.  Pupil  of 
Rouma  at  Liege,  of  Habeneck  at 
Paris  Cons.;  vlt.  at  theatres,  at  Ope>a 
Comique  and  Ope>a;  after  successful 
tour  in  Germany,  where  he  first  played 
Mendelssohn's  concerto,  became  prof, 
at  Brussels  Cons.  1848-1867;  then 
taught  in  Paris.  Composed  5  vln. 
concertos,  other  vln.  mus.;  wrote 
several  methods  and  studies,  espe- 
cially in  double-stopping. 

Leoncavallo  (la-on-ca-viil'-lo) ,  Ruggiero, 
compr.  b.  Naples,  Mar.  8,  1858. 
Pupil  at  Naples  Cons,  of  Cesi  for  pf., 
of  Ruta  and  L.  Rossi  for  comp.;  first 
opera  Chatterton  not  at  first  success- 
ful; gave  singing  lessons  and  played 
at  cafe  concerts;  2-act  opera  Pagli- 
acci produced  Milan  1892  made 
him  famous  at  once;  later  operas  are 
Medici  (1st  of  trilogy,  written  before 
Pagliacci),  La  Boheme,  Zaza,  Der 
Roland  (composed  under  commis- 
sion from,  almost  in  collaboration 
with,  Emperor  William  III  of  Ger- 
many); skilful  in  appreciating  and 
I) ringing  out  an  effect,  he  depends 


somewhat  too  much  on  superficial 
brilliancy;  in  the  almost  perfect 
union  of  dramatic  force  and  realistic 
truth  of  Pagliacci  he  touched  by  far 
his  highest  point. 

Leroux  (16-ro),  Xavier  Henri  Napoleon, 
compr.  b.  Velletri,  Italy,  Oct.  11, 
1863.  Studied  at  Paris  Cons,  with 
Dubois  and  Massenet,  winning  sev- 
eral prizes,  finally  Grand  prix  de 
Rome  1885;  prof,  of  harm,  at  Cons, 
after  1896;  composed  incidental 
music  to  Cleopatre,  Les  perses,  operas 
Astarte,  La  reine  Fiammetta,  etc., 
and  some  church  music. 

Leschetizky  (les-che-titz-ki),  Theodor, 
pst.,  teacher,  b.  Lancut,  Austrian 
Poland,  June  22,  1830.  Taught  by 
his  father  in  Vienna,  by  Czerny  and 
Sechter;  noticed  as  pst.  1845  while 
still  student  of  philosophy  at  Univ. ; 
after  professional  tours,  taught  at 
St.  Petersburg  Cons.  1852-1878; 
after  that  teaching  in  Vienna;  mar- 
ried to  Annette  Essipoff  1880-92; 
composed  some  pf.  pieces  and  one 
opera;  renowned  as  teacher  of  Pad- 
erewski,  Siloti,  and  very  many 
others;  method,  expounded  by  his 
assistant  Malwine  Bre'e  in  Ground- 
work of  L.  Method,  consists  in  per- 
fect control  of  each  finger  independ- 
ently of  others,  and  careful  intellec- 
tual analysis  of  music  to  be  played; 
aims  to  develop  individual  artist  by 
adaptations  of  method  to  his  needs. 

Leslie,  Henry  David,  condr.  b.  London, 
June  18,  1822;  d.  Llansaintfraid, 
Wales,  Feb.  4,  1896.  Studied  with 
Chas.  Lucas;  'cellist  in  Sacred  Har- 
monic Soc.;  secretary  1847  and 
condr.  1855-61  of  Amateur  Mils. 
Soc.;  condr.  of  choir  formed  by  J. 
Heming,  afterward  called  Leslie's 
Choir,  18557-78  and  1885-87;  choir 
took  1st  prize  Paris  1878,  and  gave 
many  successful  concerts;  L.  was 
condr.  Herefordshire  Philh.  Soc.  and 
director  of  short  lived  Nat'l  Coll.  of 
Mus.;  composed  several  oratorios, 
cantatas  (Judith,  Holyrood,  etc.)  and 
large  number  of  part-songs. 

Lessmann,  W.  J.  Otto,  editor,  b.  Ru- 
dersdorfer,  Jan.  30,  1843.  Studied 
with  Ritter,  Von  Billow,  Kiel,  etc.; 
taught  at  Stern  Cons,  and  at  Tausig's 
acad.;  head  of  pf.  school  of  own; 
director  of  mus.  dept.  at  school  in 


LESUEUR 


LIBELING 


Charlottenburg;  owner  and  editor 
1881-1907  of  Allgemeine  Musik- 
Zeitung;  composed  several  songs. 

Lesueur  (le'-sii-er),  Jean  Francois, 
compr.  b.  Drucat-Plessiel,  Feb.  15, 
1760;  d.  Paris,  Oct.  6,  1837.  Choris- 
ter at  Amiens  Cath.;  at  14  became 
master  of  mus.  at  S6ez  Cath.,  and 
then  held  similar  position  at  Paris, 
Dijon,  Tours,  finally  1786  maitre  de 
chapelle  at  Notre  Dame;  had  some 
instruction  from  Roze  and  advice 
from  Sacchini;  at  Notre  Dame  he 
gave  elaborate  performances  of  de- 
scriptive and  dramatic  mus. ;  defended 
himself  in  several  pamphlets;  1788- 
1792  spent  in  retirement;  inspector 
of  Cons.  1795-1820;  prof.  1817; 
maitre  de  chapelle  to  Napoleon  and 
Louis  XVIII;  composed  5  operas 
(Ossian  ou  les  hordes  most  famous), 
cantatas,  masses,  etc.;  teacher  of 
Berlioz  (of  whose  descriptive  "  pro- 
gram "  mus.  his  was  forerunner), 
A.  Thomas,  Elwart,  Gounod,  and 
many  others. 

Levi  (la'-ve),  Hermann,  condr.  b. 
Giessen,  Nov.  7,  1839;  d.  Munich, 
May  13,  1900.  Studied  with  V. 
Lachner  and  at  Leipzig  Cons.; 
director  at  Saarbriicken,  Rotterdam, 
Carlsruhe,  and  Munich  1872-1896; 
famous  condr.  of  Wagner  operas,  led 
1st  perf.  of  Parsifal  at  Bayreuth 
1882;  resigned  1896  on  account  of 
mental  disease. 

Leybach  (ll'-bak),  Ignace,  pst.,  orgt. 
b.  Gambsheim,  July  17,  1817;  d. 
Toulouse,  May  23,  1891.  Studied 
with  Pixis,  Kalkbrenner,  and 
Chopin;  orgt.  at  Toulouse  Cath.; 
distinguished  pst.,  composed  much 
salon  music;  music  for  org.  and  for 
harmonium,  L'  Organiste  pratique,  etc. 

Liadov  (lya'-doff),  Anatol  Constan- 
tinovitch,  compr.  b.  St.  Petersburg, 
May  11,  1855.  Studied  with  father, 
and  with  Johannsen  and  Rimsky- 
Korsakov  at  Cons.,  where  he  taught 
harmony,  etc.,  after  1878;  also 
teacher  at  Imperial  Chapel;  capell- 
meister  there  till  1869;  after  1894 
condr.  mus.  soc.  concerts;  with 
Balakirev  and  Liapounov  investi- 
gated folk-songs  for  Geogr.  Soc.; 
compositions  chiefly  for  pf .  mostly  in 
characteristic  style  of  Russian  school, 
with  occasional  humorous  touches. 


Liapounov  (lya'-poo-noff ),  Sergius 
Michailovitch,  compr.  b.  Jaroslav, 
Nov.  30,  1859.  Studied  at  Nijni- 
Novgorod  and  with  Klindworth  and 
Hubert  at  Moscow  Cons.;  asst. 
director  Imperial  Chap.  1894-1902; 
collected  folk-songs  with  Liadov  and 
Balakirev  for  Geogr.  Soc.;  composed 
symphony,  ballade  for  orch.,  con- 
certo for  pf.,  and  many  smaller  pf. 
works;  edited  collection  of  national 
songs. 

Lichner  (likh'-ner),  Heinrich,  condr., 
compr.  b.  Harpersdorf,  Mar.  6, 
1829;  d.  Breslau,  Jan.  7,  1898. 
Studied  with  Karow,  Dehn,  Baum- 
gart  and  Hesse;  cantor,  orgt.,  condr. 
of  Sangerbund  at  Breslau;  prolific 
but  not  original  compr.  of  psalms, 
songs,  pf.  pieces,  etc. 

Lichtenberg  (lich'-ten-berg),  Leopold, 
vlt.  b.  San  Francisco,  Nov.  22,  1861. 
Pupil  of  Beaujardin,  Lambert,  and 
Wieniawski,  both  in  U.  S.  and  in 
Brussels;  after  season  with  Thomas 
in  N.  Y.,  toured  for  3  years  in  Europe 
and  America;  member  Bost.  Symph. 
Orch.;  head  vln.  dept.  National 
Cons,  in  N.  Y.  since  1899. 

Liddle,  Robert  William,  compr.  b.  Dur- 
ham, Mar.  14,  1864.  Chorister  at 
Durham;  pupil  of  Dr.  Armes;  orgt. 
at  N.  Berwick  and  at  Southwell 
Minster  since  1888;  compr.  of  church 
music  and  songs. 

Lie  (le),  Sigurd,  compr.  b.  Norway, 
May  23,  1871;  d.  Christiania,  Sept, 
30,  1904.  Studied  at  Leipzig  Cons.; 
condr.  in  Bergen;  after  study  in 
Berlin,  condr.  of  choral  soc.  in 
Christiania;  good  vlt.  and  compr.  of 
great  promise,  shown  in  a  symph., 
several  orch.  and  chamber  works, 
songs,  and  pf.  pieces. 

Liebling  (leb'-ling),  Emil,  pst.  b.  Pless, 
Silesia,  Apr.  12,  1851.  Pupil  of 
Kullak,  Ehrlich,  Dachs,  and  Liszt; 
came  to  America  1867,  1872  and 
finally  1875;  teaching,  playing,  etc. 
in  Chicago;  valued  contributor  to 
several  journals;  excellent  teacher; 
successful  in  lectures  with  pf.  illus- 
trations where  wide  repertoire  is  of 
value;  compr.  of  pf.  mus. 

Liebling  (leb-ling),  Georg,  pst.  b.  Ber- 
lin, Jan.  22, 1865.  Studied  with  Kul- 
lak, Urban,  and  Dorn;  taught  at 


LIND 

Kullak's  Acad.  188(^85;  after  tour 
of  Germany,  with  Liszt  at  Weimar 
for  2  years;  ctebut  in  Berlin  1884; 
since  then  virtuoso;  compr.  of  orch. 
overture,  concerto,  pf.  mus.,  etc. 

Lind,  Jenny,  soprano,  b.  Stockholm, 
Oct.  6,  1820;  d.  Wynd's  Point,  Mal- 
vern,  Eng.,  Nov.  2,  1887.  Studied 
under  Berg  and  Lindblad  at  Court 
Th.  school;  d6but  1838;  after  fur- 
ther lessons  from  Manuel  Garcia  in 
Paris,  sang  at  Ope'ra  1842,  but  was 
not  engaged;  d6but  Berlin  1844  fol- 
lowed by  triumphal  tour  through 
Germany;  London  d6but  1847;  be- 
came concert  singer  1849;  toured  U.  S. 
1850-52,  married  O.  Goldschmidt ; 
after  living  quietly  in  Dresden,  went 
to  London  1856;  last  public  perf. 
1870;  known  as  "  Swedish  Nightin- 
gale ";  by  sensational  advertising 
treating  of  her  many  private  virtues, 
her  success  in  Eng.  and  U.  S.  was 
unreasonably  inflated;  voice  is  de- 
scribed by  discriminating  critics  as 
bright,  sure,  and  of  a  certain  "  thrill- 
ing" quality. 

Lindblad  (lint'-blat),  Adolf  Fredrik, 
compr.  b.  Lofvingsborg,  Sweden, 
Feb.  1,  1801;  d.  there,  Aug.  23,  1878. 
Studied  with  Zelter  in  Berlin;  lived 
in  Stockholm  after  1827;  directed  a 
music  school  until  1861;  composed 
numerous  songs  with  Swedish  na- 
tional feeling,  which  were  made  pop- 
ular by  singing  of  his  pupil,  Jenny 
Lind. 

Lindpaintner  (lint'-pant-ner),  Peter 
Joseph  von,  compr.  b.  Coblenz, 
Dec.  9,  1791;  d.  Nonnenhorn,  Lake 
pf  Constance,  Aug.  21,  1856.  Stud- 
ied with  Winter,  and,  while  th. 
director  at  Munich,  with  Gratz;  after 
1819  director  at  Stuttgart  where  he 
made  orch.  famous;  composed  about 
21  operas  (Der  Vampyr  best  known), 
music  to  Faust,  to  Schiller's  Song  of 
the  Bell. 

Lindsay,  M.,  compr.  b.  Wimbledon, 
Eng.  Composer  of  songs  and  ballads, 
somewhat  in  style  of  "Claribel"; 
Home  They  Brought  Her  Warrior 
Dead,  and  Bridge  are  well  known; 
now  Mrs.  J.  Worthington  Bliss. 

Linley,  Thomas,  compr.  b.  Wells,  Eng., 
1732;  d.  London,  Nov.  19,  1795. 
Studied  with  Chilcot  and  Paradies; 
conducted  oratorios  at  Drury  Lane; 


LISZT 

1775  composed,  with  son,  music  for 
Duenna  by  Sheridan,  his  son-in-law; 

1776  became  part  owner  and  man- 
ager of  Drury  Lane  Th.;  composed 
music   for   many   plays,    madrigals, 
etc.    Three  daughters  Elizabeth  Ann 
L.  (Sheridan's  wife),  Mary  L.,  and 
Maria  L.,  all  singers.    Son  Thomas  L., 
vlt.,  compr.    b.  Bath,  1756;  drowned, 
Grimsthorde,   Lincolnshire,   Aug.   7, 
1778.    Studied  with  Boyce  and  with 
Nardini  at  Florence,  where  he  became 
friend  of  Mozart;  vlt.  in  Bath  con- 
certs; collaborator  with  father. 

Lipinski,  Karl  Joseph,  vlt.  b.  Radzyn, 
Poland,  Oct.  30  (or  Nov.  4),  1790;  d. 
Urlow,  near  Lemberg,  Dec.  16,  1861. 
Had  only  few  lessons  from  father; 
1810  concertmaster,  1812-14  leader 
at  Lemberg  Th.;  1817-18  played 
with  Paganini,  but  in  1829  they  met 
again  as  rivals,  1839-^61  concert- 
master  in  Dresden;  distinguished  for 
broad  tone  and  skilful  double  stop- 
ping; compositions,  Military  con- 
certo, etc.,  are  no  longer  played. 

Listemann  (list'-6-man),  Bernhard 
[Friedrich  Wilhelm],  vtt.  b.  Schlot- 
heim,  Thuringia,  Aug.  28,  1841. 
Studied  with  Ullrich,  David,  Vieux- 
temps,  and  Joachim;  concertmaster 
Rudolstadt  1859-67;  came  to  Amer- 
ica with  brother  Ferdinand  L.,  vlt. 
(b.  1841);  traveled  with  De  Meyer; 
leader  Thomas  orch.,  N.  Y.  1871-74; 
founder,  condr.  Boston  Philharmonic 
Club,  of  Bost.  Philh.  Orch.  1879-81 ; 
concertmaster  Symph.  Orch.  1881- 
85;  founder  of  L.  quartet  and  L. 
concert  co.;  1893,  head  of  vln.  dept. 
Chicago  Coll.  of  Mus.;  removed  to 
Boston  1907;  returned  to  Chicago 
1910. 

Liszt  (list),  Franz,  pst.,  compr.  b.  Raid- 
ing, near  Odenburg,  Hungary,  Oct. 
22,  1811;  d.  Bayreuth,  July  31,  1886. 
Son  of  Adam  L.,  steward  in  service 
of  Prince  Esterhazy;  pf.  pupil  of  his 
father;  after  first  public  appearance 
at  9,  several  noblemen  contributed 
sums  for  future  education;  at  Vienna 
1821-23  pupil  in  pf.  of  Czerny,  and 
in  comp.  of  Salieri  and  Randhart- 
inger;  highly  praised  by  Beethoven 
and  many  others;  1823  at  Paris, 
refused  admission  to  Cons,  as  for- 
eigner, continued  comp.  with  Reicha 
and  Paer,  took  no  more  pf.  lessons; 
1824/25  played  with  great  success 


LISZT 


LLOYD 


in  London;  1825  operetta  Don  San- 
cho  produced  in  Paris;  1825-27  tours 
in  Eng.  and  Switzerland;  1827  death 
of  father  made  his  support  necessary 
for  family  and  1827-39  he  lived  in 
Paris,  where  he  was  in  demand  as 
teacher  and  player  and  where  he  was 
one  of  brilliant  artistic  circle  includ- 
ing Lamartine,  Victor  Hugo,  George 
Sand,  Berlioz,  Chopin,  etc.;  beside 
the  influence  of  these  individuals  and 
the  general  romantic  movement,  he 
was  much  interested  in  Saint-Simon- 
ism  but,  apparently,  never  joined 
its  numbers;  at  this  time  occurred 
his  union  with  Countess  d'Agoult 
(Daniel  Stern);  1839-47  traveled 
widely  over  Europe  establishing 
position  as  greatest  of  pf.  virtuosos 
in  long  series  of  extravagant  suc- 
cesses; 1849-51  lived  in  Weimar,  as 
conductor  of  Court  Theatre;  here 
he  accomplished  much  for  modern 
music  by  performing  new  works,  and 
with  the  Princess  of  Sayn- Wittgen- 
stein made  his  house  and  Weimar 
musical  center;  period  of  greatest 
teaching  and  most  important  com- 
position; 1859  left  Weimar  because 
objections  were  made  to  Cornelius's 
Barber  of  Bagdad;  friendly  relations 
were  afterward  established  so  that 
from  1861  till  death  he  divided  time 
between  Pesth,  Weimar,  and  Rome; 
at  latter  city  his  early  fondness  for 
church  reasserted  itself  and  1879  he 
was  admitted  to  the  minor  orders  of 
the  priesthood  and  gained  title 
Abbe".  As  a  man  L.  was  distin- 
guished among  artists  for  breadth  of 
taste,  and  deep  and  real  sympathy 
for  fellows  expressed  in  most  prac- 
tical ways.  As  pst.  he  was  greatest 
that  ever  lived;  his  playing  was  re- 
markable for  "  quiet  brilliance  of 
rapid  passages,"  for  beauty  of  feeling 
as  well  as  for  amazing  skill;  Wagner 
said  of  it  that  it  was  "  production, 
not  reproduction."  As  teacher,  he 
was  often  severe,  always  inspiring; 
results  must  not  be  judged  without 
remembering  that  visitors  at  classes 
were  sometimes  allowed,  and  that, 
apparently,  many  of  these  claimed 
to  be  pupils.  As  conductor,  he  was 
as  marvelous  as  at  the  piano  in 
interpreting  the  real  intention  and 
ideas  of  the  composer;  to  his  catho- 
licity of  taste  many  owed  encourage- 
ment; among  works  which  he 


brought  out  at  Weimar  are  Wagner's 
Lohengrin,  Tannhduser,  and  Flying 
Dutchman,  and  works  by  Berlioz, 
Schumann  and  Schubert.  As  com- 
poser for  pf.,  much  of  his  work 
transfers  to  pf.  orchestral  effects, 
sometimes  at  a '  loss  artistically; 
his  transcriptions,  however,  never 
err  in  spirit,  seldom  in  taste;  for  the 
voice  he  wrote  5  masses,  9  oratorios 
(2  unpublished),  church  music  and 
some  great  songs.  Gollerich,  in  his 
book  Franz  Liszt  (1908),  gives  a  full 
catalog  listing  both  published  and 
unpublished  works.  Some  of  the 
figures  are  as  follows:  Orchestral 
works,  original  and  arrangements, 
69;  chamber  music,  47;  pf.  and  orch. 
16;  pf.,  original  and  arrangements, 
822;  melodramas,  8;  organ,  47;  part- 
songs,  31;  songs  and  ballads  with 
orchestra,  18;  songs  with  piano,  90. 
His  greatest  achievement  as  compr. 
is  invention  of  form  known  as  "  sym- 
phonic poem,"  much  used  by  later 
comprs.;  his  own  Dante  and  Faust 
symphonies,  Episodes  from  Lenau's 
Faust,  etc.  illustrate  his  need  of  the 
exterior  suggestion  of  a  program  and 
his  "transformation"  of  themes. 
His  literary  works,  except  those  relat- 
ing to  Wagner,  have  only  incidental 
interest;  the  Life  of  Chopin  is  un- 
trustworthy, the  Music  of  the  Gypsies 
unscientific. 

Litolff  (lit'-olf),  Henri  Charles,  pst., 
publisher,  b.  London,  Feb.  6,  1818; 
d.  Bois  le  Combes,  near  Paris,  Aug.  6, 
1891.  Son  of  Alsatian  vlt.;  pupil  of 
Moscheles;  d£but  at  Co  vent  Garden 
at  12;  cast  off  by  family  for  marriage, 
wandered  on  Continent,  giving  suc- 
cessful tours;  after  separation  from 
1st  wife,  lived  and  played  in  several 
cities;  married  widow  of  Meyer,  pub- 
Usher  in  Brunswick,  whose  business 
he  took  over;  published  Collection 
Litolff,  first  cheap,  trustworthy  edi- 
tions of  classics;  1860  left  business 
to  adopted  son  Theodor,  and  de- 
voted nimself  to  composition  in 
Paris;  composed  several  operas 
(Heloise  et  Abelard,  Les  templiers), 
overtures,  concerto-symphonies,  brill- 
iant and  characteristic  pf.  pieces. 

Lloyd,  Charles  Harford,  orgt.,  condr. 
b.  Thornbury,  Oct.  16,  1849.  Mus. 
B.  at  Oxford  1871,  Mus.  Doc.  1891, 
founded  Univ.  Mus.  Club;  orgt.  at 


LLOYD 


LOGIER 


Gloucester  Cath.  1876,  at  Christ 
Church,  Oxford  1882;  condr.  Three 
Choirs  festivals  1877,  1880;  1882 
condr.  Choral  Soc.  Oxford;  taught 
Royal  Coll.  Mus.  1887-92,  at  Eton 
1892;  composed  several  cantatas  and 
part-songs,  of  real  melodic  originality. 

Lloyd,  Edward,  tenor,  b.  London,  Mar. 
7,  1845.  Chorister  at  Westminster 
Abbey  under  J.  Turle;  voice  turned 
to  tenor  without  breaking;  chorister 
at  Cambridge  and  Wells;  gentleman 
of  Chapel  Royal  1869-71;  after  that 
devoted  to  festival  and  concert  ap- 
pearances until  retiring  1900;  in  U. 
S.  1888;  distinguished  for  singing 
Wagner  selections  and  for  creating 
many  new  parts,  such  as  those  in 
The  Redemption,  Mors  et  Vita, .  The 
Golden  Legend,  The  Dream  of  Ger- 
ontius. 

Lobe  (lo'-ba),  Johann  Christian,  teacher, 
compr.  b.  Weimar,  May  30,  1797; 
d.  Leipzig,  July  27,  1881.  Pupil  on 
flute  of  A.  Riemann  and  E.  A.  Mtiller; 
soloist  at  Gewandhaus  1811;  mem- 
ber Weimar  orch.  1811-42;  founded 
mus.  school;  in  Leipzig  as  editor  of 
Allgemeine  Mtisik  Zeitung  1846—48, 
and  of  other  journals;  author  of 
books  on  theory  and  composition, 
and  of  Musikalische  Brief e,  Aiis  dem 
Leben  eines  Mtisikers,  interesting 
for  critical  comments  and  sketches 
of  contemporaries. 

Locatelli  (loc-a-tel'-li),  Pietro,  vlt.  b. 
Bergamo,  1693;  d.  Amsterdam,  Apr. 
1,  1764.  Studied  with  Corelli  at 
Rome;  after  much  traveling,  gave 
regular  concerts  in  Amsterdam;  per- 
formed marvelous  feats  of  technic, 
especially  in  double-stopping;  com- 
posed sonatas  for  flute,  sonatas, 
caprices,  and  concertos  for  vln.,  for 
trio,  and  for  quartet. 

Locke,  Matthew,  compr.  b.  Exeter, 
Eng.,  1632;  d.  London,  Aug.,  1677. 
Chorister  at  Exeter  Cath.,  pupil  of 
E.  Gibbon  and  possibly  also  of  W. 
Wake;  compr.  to  Charles  II,  and 
after  conversion  to  Roman  Catholi- 
cism, orgt.  to  Queen  Catherine;  com- 
Ksed  music  for  Davenant's  and 
•yden's  plays  and  alterations  of 
Shakespeare;  music  for  Macbeth 
1672,  long  supposed  to  be  his,  is 
now  claimed,  but  without  absolutely 
final  proof,  as  work  of  Purcell;  wrote 


"  consorts  "  for  several  instruments, 
airs,  etc.,  and  pamphlets  against 
Salmon,  who  proposed  discarding 
clefs  in  notation. 

Loeffler  (lef'-ler),  Charles  Martin  [Tor- 
nov],  vlt.,  compr.  b.  Miihlhausen, 
Alsace,  Jan.  30,  1861.  Pupil  in  vln. 
of  Leonard,  Massart,  Joachim,  in 
conip.  of  Guiraud  and  Kiel;  played 
in  Pasdeloup's  orch.,  in  Prince  Der- 
vier's  at  Nice  and  Lugano,  where  he 
was  associated  with  Ce"sar  Thomson; 
came  to  N.  Y.  and  to  Boston,  where 
he  was  1st  violin  at  Boston  Symph. 
Orch.  1882-1903;  teaching  (A.  Hart- 
mann  his  pupil)  and  comp.  in  Boston; 
composed  songs,  symph.  poems  (La 
mort  de  Tintagiles,  Les  veittees  de 
I'  Ukraine,  Avant  que  tu  ne  t'en  aittes, 
VittaneUe  du  diable,  A  Pagan  Poem), 
sextet,  octet,  works  for  wind  instru- 
ments and  for  vln.  He  has  "  certain 
affinities  with  the  French  school  [in 
poetry  as  in  music]  whose  essential 
traits  are  finesse,  a  passion  for  the 
recondite,  a  scrupulous  avoidance  of 
too  definite,  too  facile  patterns,  an 
exquisite  mastery  of  harmonic  and 
orchestral  color;  yet  he  is  himself  a 
potential  force  of  singular  potency 
[the  potency  of  a]  refined  inspiration 
and  vivid  individuality."  [L.  Gilman.] 

Loeschhorn  (lesh'-horn),  Carl  Albert, 
pst.,  writer,  b.  Berlin,  June  27, 1819; 
d.  there,  June  4,  1905.  Studied  with 
L.  Berger,  Grell,  and  A.  W.  Bach  at 
Royal  Inst.  for  church  music,  where 
he  taught  pf.  after  1851;  gave  cham- 
ber concerts  in  Berlin,  published 
excellent  pf.  music,  and  many  valu- 
able studies  for  pupils  of  ah1  grades, 
and  guide  to  pf.  literature. 

Logier  (lo'-zhi-a),  Johann  Bernhard, 
inventor,  b.  Kassel,  Feb.  9,  1777;  d. 
Dublin,  July  27,  1846.  Flute  pupil 
of  Weidner,  taken  to  England  at  ten 
by  a  gentleman;  flutist  in  regimental 
band,  orgt.  at  Westport,  Ireland, 
bandmaster,  music-seller  and  th. 
director  in  Dublin;  invented  chirp- 
plast,  machine  for  holding  hands  in 
proper  position  at  pf.;  1823-26  in 
Germany  on  invitation  of  gov't  to 
explain  invention  from  which  he 
made  fame  and  money;  1826  re- 
opened Dublin  shop;  published  meth- 
ods and  explanations  of  system  and 
few  compositions. 


LOW 

Low  (lev),  Joseph,  pst.  b.  Prague, 
Jan.  23,  1834;  d.  there,  Oct.  5,  1886. 
After  successful  tour  1854,  lived  in 
Prague  1856  to  death,  whence  he 
sent  forth  nearly  500  light  pf .  pieces, 
many  of  them  melodious  and  espe- 
cially adapted  to  use  of  children. 

Loewe  (16'- va),  Johann  Carl  Gottfried, 
compr.  b.  Lobejiin,  near  Halle,  Nov. 
30,  1796;  d.  Kiel,  Apr.  20,  1869. 
Taught  by  father  and  by  Turk, 
at  Francke  Inst.,  Halle,  where  L. 
received  royal  stipend;  entered  Halle 
Univ.  and  Naue's  Singakademie; 
prof,  and  cantor  at  Stettin  1820-1866, 
with  many  and  frequent  trips  to  other 
parts  of  Germany,  to  England,  etc.; 
composed  1  opera,  17  oratorios,  but 
chiefly  ballads  for  voice  and  pf.; 
practically  established  ballad  as  artis- 
tic form  by  infusing  it  with  dramatic 
feeling  and  applying  principle  of 
leading  motive. 

Logroscino  (16g-ro-she-no),  Nicola,  com- 
pr. b.  Naples,  about  1700;  d.  there, 
1 763-  Pupil  of  Durante ;  collaborator 
with  Leo  1738;  compr.  of  great 
number  of  successful  operas;  1747 
taught  music  at  cons,  in  Palermo; 
superior  to  predecessors  in  comic 
feeling;  reputed,  apparently  without 
just  cause,  inventor  of  concerted 
number  at  close  of  act. 

Lolli  (lol'-le),  Antonio,  vtt.  b.  Ber- 
gamo, about  1730;  d.  Palermo,  1802. 
Self-taught;  leader  at  Stuttgart, 
favorite  of  Empress  Catherine,  St. 
Petersburg,  1773-78,  in  Paris  1779 
and  thereafter  in  Spain,  Austria, 
Germany,  and  England;  wonderful 
performer,  but  ignorant  of  other 
qualities  necessary  to  a  musician. 

Longhurst,  William  Henry,  compr.  b. 
Lambeth,  London,  Oct.  6,  1819;  d. 
Harbledown,  near  Canterbury,  June 
17,  1904.  Chorister  at  Canterbury 
Cath.  under  Skeats,  Elvey,  and 
Jones;  lay  clerk  there,  asst.  orgt. 
and  orgt.  1873  to  retirement  1898; 
Mus.  Doc.  1875;  composed  oratorio, 
cantata,  services,  etc. 

Loomis,  Harvey  Worthington,  compr. 
b.  Brooklyn,  Feb.  5,  1865.  Studied 
with  Dvofdk  at  N.  Y.  Nat'l  Cons., 
where  he  won  scholarship,  and  also 
with  Mme.  Schiller;  composed  very 
successful  music  pantomimes  whicn 


LUDWIG 

have  been  given  by  amateurs  and 
at  special  performances  in  N.  Y.; 
written  incidental  music  for  plays, 
songs,  duets,  and  a  cantata  for  chil- 
dren; lectures  on  Indian  music  and 
transcriptions  of  it. 

Lortzing,  Gustav  Albert,  compr.  b. 
Berlin,  Oct.  23,  1801;  d.  there,  Jan. 
21,  1851.  Son  of  actor,  an  actor 
himself  in  small  parts;  except  for 
few  lessons  from  Rungenhagen, 
musically  self-taught;  singer  Leipzig 
Th.  1833-44,  condr.  of  opera  there 
1844  and  again  1849;  capellmeister 
Berlin  Th.  1850;  his  operas  did  not 
bring  him  appreciation  or  a  liveli- 
hood; yet  they  were  successful  and 
distinguished  for  humor  and  melodi  - 
ousness,  and  some  still  hold  the  stage 
(notably  Czar  und  Zimmermann, 
Der  Wildschutz,  Regind). 

Lotti,  Antonio,  orgt.,  compr.  b.  Venice, 
about  1667;  d.  Venice,  Jan.  5,  1740. 
Son  of  court  capellmeister  at  Han- 
over; pupil  of  Legrenzi  at  Venice; 
produced  opera  at  16;  chorister  1687, 
2d  orgt.  1692,  1st  orgt.  1704-36  at 
St.  Mark's;  visited  Dresden  1717-19; 
composed  some  20  operas  in  older 
style  of  Handel's  predecessors,  and 
much  distinguished  church  music 
(Miserere  is  performed  every  Maundy 
Thursday  at  St.  Mark's). 

Lucca  (look'-ka),  Pauline,  dram.  sop. 
b.  Vienna,  Apr.  25,  1841;  d.  Paris, 
Feb.  28,  1908.  Early  remarkable 
for  beautiful  voice;  pupil  of  Usch- 
mann  and  Lewy;  member  of  chorus 
at  Vienna  opera  1856-59;  prima 
donna  at  Olmiitz,  Prague,  Berlin 
1861-72;  in  America  1872-74;  there- 
after sang  in  London,  Madrid,  St. 
Petersburg,  Vienna,  where  she  lived 
after  retiring  1890;  married  Baron 
von  Rhaden,  and  after  divorce  Major 
von  Wallhofen;  very  remarkable 
voice,  with  range  of  1\  octaves,  and 
unusual  powers  of  real  characteriza- 
tion, made  her  especially  admired  in 
operas  of  Meyerbeer,  Auber,  HaleVy, 
etc. 

Ludwig  (lood'-vig),  August,  editor, 
compr.  b.  Waldheim,  Saxony,  Jan. 
15,  1865.  Studied  at  Cologne  Cons. 
and  Munich  Cons.;  remarkable  for 
attempt  to  complete  Schubert's 
"Unfinished"  symphony  by  adding 
two  movements,  Philosophen  Scherzo 


LULLY 


LUTHER 


and  Schicksals  Marsche,  performed 
Berlin  1892;  compr.  of  other  orch. 
works,  songs,  etc.;  editor  Neue  Ber- 
liner Musik  Zeitung  1894-97;  author 
of  Geharnischte  Aufsatze  uber  Musik. 

Lully  (liil'-li),  Jean  Baptiste  de,  compr. 
b.  Florence,  1633;  d.  Paris,  Mar. 
22,  1687.  Learned  violin  and  guitar 
from  Franciscan  monk;  at  13  in 
service  of  Mile,  de  Montpensier 
in  whose  kitchen  he  was  one  day 
playing  and  being  overheard  was 
transferred  to  her  private  band; 
expelled  for  satire;  after  some  in- 
struction from  Mertu,  Roberdet, 
and  Gigault,  became  member  of 
King's  band;  1652  director  of  small 
band  which  eclipsed  the  older;  1653 
as  court  composer,  composed 
masques,  etc.;  1672  obtained  letters 
patent  from  king  for  Acade"mie  royale 
de  musique  (which  still  exists  as 
Grand  Ope'ra);  the  similar  privilege 
granted  1669  to  Perrin  and  Cambert 
was  revoked,  so  L.  "  stole "  the 
credit  of  originating  the  opera;  his 
first  work  Les  fetes  de  I' Amour  et  de 
Bacchus  1672,  and  the  19  succeeding 
ones  (Thesee,  Psyche,  Armide,  etc.) 
rank  as  the  first  French  operas;  in- 
troduced accompanied  recitative  and 
established  French  standard  of  cor- 
rect declamation;  strong  sense  of 
dramatic  effectiveness  and  gift  for 
rather  sweet  melodies  enabled  him 
to  make  success  and  to  have  high 
standard  despite  certain  monotony  of 
rhythm  and  thinness  of  orchestration. 

Lumbye,  Hans  Christian,  compr.  b. 
Copenhagen,  May  2,  1810;  d.  there, 
Mar.  20,  1874.  Compr.  popular 
dance  music,  called  "  the  northern 
Strauss  ";  condr.,  until  1865,  of  orch. 
with  which  he  made  frequent  tours; 
galops,  marches,  etc.  very  popular 
with  orchestras  of  the  sixties. 

Lunn,  Louisa  Kirkby,  mezzo  sop.  b. 
Manchester,  Eng.,  Nov.  8,  1873. 
Pupil  of  Greenwood  and  of  Visetti 
at  Royal  Coll.  of  Mus.,  with  Bouhy 
in  Paris;  d6but  as  student  1893  led 
to  engagement  at  Covent  Garden 
until  1896;  with  Carl  Rosa  Co.  1897- 
99;  married  W.  J.  K.  Pearson;  since 
1901  at  Covent  Garden;  1902  at 
Metropolitan,  N.  Y.,  in  various  con- 
certs, and  again  1904  as  Kundry  in 
English  performance  of  Parsifal  by 
the  Savage  Co. 


Lupot  (lii-po),  Nicolas,  vln.-maker.  b. 
Stuttgart,  1758;  d.  Paris,  Aug.  13, 
1824.  Of  family  of  makers;  his 
grandfather  Laurent  (1696-1762) 
worked  at  Lune'ville  and  Orleans; 
his  father  Francois  was  at  Stuttgart 
1758-70,  then  at  Orleans;  Nicolas 
made  vlns.  before  he  was  20;  prob- 
ably worked  for  Pique,  opened  shop 
in  Paris  1798;  without  attempting 
originality,  copied  Stradivarius  vlns. 
and  'cellos,  sometimes  making  sets 
of  5  for  quintet;  called  "  French 
Stradivarius  ";  succeeded  by  son-in- 
law  Gand.  His  brother  Francois 
(1774-1837),  maker  of  bows. 

Lussan  (lus-son),  Zelie  de,  dram.  sop. 
b.  New  York,  1863.  Pupil  of  her 
mother;  concert  de"but  1879,  opera 
d6but  with  Boston  Ideals  1885-88; 
with  Carl  Rosa  Co.  in  Eng.  1889; 
greatest  parts  Carmen  and  Mignon; 
with  a  brilliant  but  not  great  voice, 
won  by  piquant  charm  of  personality; 
appeared  in  vaudeville  1908. 

Lussy  (liis-si),  Mathis,  writer,  b.  Stans, 
Switzerland,  April  8,  1828;  d.  Jan. 
21,  1910.  Studied  with  Businger 
and  Nageli;  instead  of  studying 
medicine  in  Paris,  taught  pf.  there 
after  1847;  chiefly  known  as  author 
of  Exercises  de  mecanisme,  Traite  de 
I'expression  musicale,  Histoire  de  la 
notation  musicale  (with  E.  David, 
which  took  Paris  Acad.  prize  1882), 
and  a  Short  Treatise  on  Musical 
Rhythm. 

Luther  (looth-eer),  Martin,  reformer, 
compr.  b.  Eisleben,  Nov.  10,  1483; 
d.  there,  Feb.  18,  1546.  Relation  to 
music  consists  in  reforms  there  as  in 
other  matters  of  religious  practise; 
after  leaving  the  Wartburg,  issued 
Formula  missae,  objecting  to  long 
graduals;  order  for  German  mass, 
compiled  with  capellmeister  C.  Rupff 
and  cantor  J.  Walther,  first  used 
1524,  calls  for  German  creed  and 
certain  German  hymns;  L.  himself 
sang  and  played  flute;  aside  from 
his  wide  influence  in  spreading  Prot- 
estant hymns  in  Germany,  he  wrote 
words  to  several  and  music  to 
few;  although  all  claims  for  him  as 
compr.  have  been  denied,  it  seems 
sure  that  he  wrote  chorale  Ein  feste 
Burg  ist  unser  Gott  and  probably 
some  11  others. 


LUZZI 


MACDOWELL 


Luzzi  (loot'-zi),  Lviigi,  compr.  b. 
Olevano  di  Lomellina,  Mar.  28,  1828; 
d.  Stradella,  Feb.  23,  1876.  At  first 
medical  student  at  Turin;  composed 

3  operas  (2  performed),  symphony, 
funeral    march,  pf.    music,    hymns, 
many  inspired  songs.     [Baker.] 

Lvoff  or  Lwoff  (Ivof),  Alexis  Feodor- 
ovitch,  compr.  b.  Reval,  June  6, 
1799;  d.  estate  near  Kovno,  Jan.  7, 
1871.  Maj.-gen.  and  adj.  to  Em- 
peror Nicholas;  succeeded  father  as 
director  of  Imperial  Chapel  1837-61; 
excellent  vlt.,  organized  successful 
string  quartet;  made  collection  of 
chants  of  Greek  ritual;  composed 

4  operas,  vln.  concerto,  caprices  for 
vln.,  and  church  music  but  especially 
the  Russian  national  hymn  God  Save 
the  Czar,  written  1833;  retired  1867. 


Lynes  (1ms),  Frank,  orgt.,  compr.  b. 
Cambridge,  Mass.,  May  16,  1858. 
Studied  at  N.  E.  Cons.,  and  with 
Lang  and  Paine,  and  at  Leipzig 
with  Reinecke,  Richter,  Jadassohn; 
has  filled  various  organ  positions 
in  Boston;  compositions  include 
successful  songs,  piano  pieces,  cho- 
ruses, etc, 

Lysberg  [originally  Bovy,  known  as 
Bovy-Lysberg],  Charles  Samuel,  pst., 
compr.  b.  Lysberg,  near  Geneva, 
Mar.  1,  1821;  d.  Geneva,  Feb.  15, 
1873.  Studied  with  Chopin  and 
Delaire  in  Paris;  teacher  of  pf.  at 
Geneva  Cons.;  composed  an  opera 
given  at  Geneva  1854,  and  popular 
light  pf.  pieces,  such  as  Le  reveil  des 
oiseaux,  Le  chant  du  rouet,  romantic 
sonata  L'  Absence. 


M 


Maas  (mas),  Joseph,  tenor,  b.  Dart- 
ford,  Kent,  Jan.  30,  1847;  d.  London, 
Jan.  16,  1886.  Chorister  at  Roches- 
ter Cathedral;  pupil  of  J.  L.  Hopkins, 
Mme.  Bodda-Pyne,  and  Sangiovanni ; 
d6but  London  1871;  in  opera  1872; 
member  Kellogg's  Opera  Co.  in  Amer- 
ica, of  Carl  Rosa's  in  Eng. ;  not  a  very 
good  actor,  he  was  more  popular  at 
concerts  and  festivals,  where  his  fin- 
ished style  placed  him  in  first  rank. 

Maas,  Louis  Philipp  Otto,  pst.,  compr. 
b.  Wiesbaden,  June  21,  1852;  d. 
Boston,  Mass.,  Sept.  18,  1889. 
Studied  at  Leipzig  Cons,  with  Rei- 
necke and  Papperitz;  and  with  Liszt; 
taught  at  Leipzig  Cons.  1875-80; 
came  to  Boston  1880;  condr.  Philhar- 
monic concerts  1881-82;  teacher  at 
N.  E.  Cons.;  composed  symph.  On 
the  Prairies,  inspired  by  tours  in  West, 
overtures,  suites,  pf.  concerto,  etc. 

MacCarthy,  Maud,  vlt.  b.  Clonmel, 
Ireland,  July  4.  1884.  Lived  in 
Sydney,  New  South  Wales;  pupil  of 
Arbos  from  9  to  15,  for  two  years 
after  de'but  in  1894;  after  successful 
concerts  in  London,  played  in  U.  S., 
in  New  York  1898  and  with  Boston 
Symph.  Orch.  1902,  1903;  tours  in 
Germany,  Scandinavia,  and  Italy; 
gave  up  violin  playing  for  theosopny 
about  1905. 


MacCunn,  Hamish,  compr.  b.  Green- 
ock,  Scotland,  Mar.  22,  1868. 
Studied  at  Royal  Coll.  of  Mus.  under 
Hubert  Parry;  overture  Land  of 
Mountain  and  Flood  brought  him 
into  notice  1887;  1888-94  prof,  at 
Royal  Coll.;  condr.  of  Carl  Rosa  Co. 
for  some  years,  and  of  various  light 
opera  companies;  composed  operas 
(Jeanie  Deans,  etc.),  several  over- 
tures; music  almost  entirely  on 
Scotch  subjects,  full  of  individual 
Scotch  feeling. 

Macdougall,  Hamilton  Crawford,  orgt., 
teacher,  b.  Warwick,  R.  I.,  Oct.  15, 
1858.  Pupil  in  Boston  of  J.  C.  D. 
Parker,  S.  B.  Whitney,  B.  J.  Lang, 
and  in  London  of  E.  H.  Turpin  and 
Royal  Coll.  teachers;  orgt.  in  Provi- 
dence and  Brookline;  since  1900  prof, 
of  music  at  Wellesley  College;  1908- 
09  and  1910-11  special  lecturer  on 
music  at  Brown  Univ.;  extension 
lectures  (public)  on  music,  Provi- 
dence, 1910.  Composed  music  for 
women's  voices  and  pf.  (Studies  in 
Melody  Playing);  contributor  to 
periodicals. 

MacDowell,  Edward  Alexander,  pst., 
compr.  b.  New  York,  Dec.  18,  1861; 
d.  there,  Jan.  23,  1908.  Studied  with 
Buitrago,  Desvernine,  and  Teresa 
Carreno;  at  Paris  Cons.  1876-79 


MACFARLANE 


MACKINLAY 


with  Marmpntel  and  Savard,  at 
Frankfort  with  Heymann  and  Raff; 
chief  teacher  of  pf.  at  Darmstadt 
Cons.;  1882  played  for  Liszt  at 
Weimar  and  by  L's  influence  and 
that  of  Raff  M's  works  were  played 
at  Allgemeiner  Deutscher  Musik- 
verein  at  Zurich;  after  4  years  in 
Wiesbaden,  he  lived  in  Boston,  Mass. 
1888-1896;  prof,  of  music  at  Colum- 
bia Univ.  N.  Y.  1896-1904;  1905 
afflicted  with  brain  disease  from 
which  he-  never  recovered;  an  excel- 
lent teacher  and  individual  player. 
As  compr.  ranks  among  highest  in 
America,  though  he  protested  against 
distinctions  by  nationality;  follower 
of  Raff's  romanticism;  composed 
symph.  poems  Hamlet  and  Ophelia, 
Lancelot  and  Elaine,  Lamia,  In  Oc- 
tober, and  most  notable  Indian 
Suite,  in  which  he  used  native  airs 
and  in  which  his  orchestration  is  at 
its  best;  more  distinguished  as 
compr.  for  pf.  of  four  imposing 
sonatas,  Tragica,  Eroica,  Norse, 
and  Keltic,  many  groups  of  very 
charming  short  sketches,  each  ex- 
pressing the  mood  of  some  scene  or 
some  poem;  same  exquisite  expres- 
sion of  mood  marks  his  songs,  for 
many  of  which  he  wrote  the 
words. 

Macfarlane,  William  Charles,  orgt., 
compr.  b.  London,  Oct.  2,  1870. 
Parents  moved  to  New  York  1874; 
M.  was  chorister  in  Christ  Church, 
New  York,  1880-85;  studied  music 
with  his  father  and  S.  P.  Warren; 
gave  org.  recitals  New  York,  1886, 
and  later  in  many  other  cities;  orgt. 
Danbury,  Conn.,  and  various  New 
York  churches;  Temple  Emanu-El 
1898,  St.  Thomas's  Episcopal  1900, 
both  of  which  positions  he  now 
holds  (1910);  condr.  Yonkers  Choral 
Society  1902;  founder  of  Amer. 
Guild  Org.;  compositions  include 
org.  mus.,  cantata  The  Message  from 
the  Cross,  songs,  anthems,  and  part- 
songs. 

Macfarren,     Sir     George     Alexander, 

compr.,  writer,  b.  London,  Mar.  2, 
1813;  d.  there,  Oct.  31,  1887.  Pupil 
of  his  father,  George  M.,  dramatist, 
of  Lucas  and  of  Potter  at  Royal  Acad. 
Mus.,  where  he  became  prof.  1834  and 
principal  1876;  failing  eyesight,  re- 
sulting in  blindness,  did  not  interfere 


with  his  teaching;  prof,  of  mus. 
at  Cambridge  Univ.  1875;  knighted 
1883;  works  include  9  performed 
operas,  4  oratorios,  6  cantatas,  8 
symphonies,  much  church  music, 
chamber  music,  songs,  etc.;  wrote 
Rudiments  of  Harmony,  Lectures 
and  Addresses  and  several  other 
studies.  Life  by  H.  C.  Banister.  His 
wife  Natalia  (nee  Andreae),  singer, 
teacher,  translator  of  songs,  librettos, 
etc.  His  brother  Walter  Cecil,  pst. 
b.  London,  Aug.  28,  1826;  d.  there, 
Sept.  2,  1905.  Chorister  at  West- 
minster Abbey  under  Turle;  studied 
at  Royal  Acad.  with  his  brother, 
Holmes,  and  Potter;  taught  there 
1846-1903,  conducted  concerts  1873- 
80;  director  Philharmonic  Soc.;  suc- 
cessful concert  pst.;  composed  several 
overtures,  pf.  sonatas  and  other 
pieces,  part-songs,  etc.;  edited  pf. 
works  of  Mozart,  sonatas  of  Beetho- 
ven, and  series  of  Popular  Classics. 

Macirone  (ma-ki-ro'ne),  Clara  Angels, 
pst.  b.  London,  Jan.  20,  1821. 
Taught  at  Royal  Acad.  by  Potter, 
Lucas,  Holmes,  and  Negri;  teacher 
there  and  at  schools  for  girls;  condr. 
of  local  society;  compr.  of  church 
music  and  many  successful  part- 
songs. 

Mackenzie,    Sir   Alexander   Campbell, 

compr.  b.  Edinburgh,  Aug.  22,  1847. 
Of  musical  family,  father  and  grand- 
father both  ylts.;  studied  with 
Ulrich  and  Stein  at  Sondershausen 
Cons.;  played  in  band  there;  at 
Royal  Acad.  on  King's  Scholarship, 
pupil  of  Sain  ton,  Jewson,  and  Lucas; 
1865-73  played  vln.,  taught,  con- 
ducted at  Edinburgh  and  elsewhere; 
1878-88  chiefly  in  Florence,  with 
occasional  seasons  of  conducting  in 
England;  1888  principal  Royal  Acad. ; 
1892-99  condr.  Philharmonic  Soc.; 
knighted  1895;  composed  for  pf.  and 
violin,  several  operas  (His  Majesty, 
Colomba,  The  Rose  of  Sharon),  can- 
tatas (Tlie  Cotter's  Saturday  Night, 
etc.),  2  Scottish  Rhapsodies  for  orch., 
a  Scottish  concerto  for  vln.,  La  belle 
dame  sans  merci  ballad  with  orch., 
London  Day  by  Day  suite;  best  work 
marked  by  strong  national  feeling, 
and  individuality. 

MacKinlay,  Mrs.  J.,  see  Sterling,  An- 
toinette. 


MACY 


MAITLAND 


Macy,  James  Cartwright,  compr.  b. 
New  York  City,  June  27,  1845. 
Family  belongs  to  the  early  colonists 
of  Massachusetts  and  New  York; 
early  education  received  from  par- 
ents; in  1857  he  entered  the  Elmira 
(N.  Y.)  Academy;  when  the  Civil 
War  broke  out  he  enlisted  and  served 
throughout  the  conflict;  took  up  the 
study  of  music  again  1866-70,  and 
began  composing;  his  long  list  of 
works  includes  pieces  for  the  piano 
and  other  instruments  as  well  as  all 
the  vocal  forms,  songs,  school  songs, 
part-songs,  anthems,  cantatas,  oper- 
ettas, etc.;  his  translations  and  adap- 
tations of  opera  librettos,  foreign 
songs,  etc.  are  notable  as  part  of  his 
work  during  many  years'  connection 
with  American  musical  publishers, 
especially  Oliver  Ditson  Company, 
of  Boston;  wrote  two  plays,  The 
Buckeye  and  Two  Lives,  successfully 
given  in  many  of  the  large  cities; 
author  of  Young  People's  History 
of  Music. 

Maelzel  (mel'tsel),  Johann  Nepomuk, 
inventor,  b.  Ratisbon,  Aug.  15, 1772; 
d.  at  sea  on  voyage  to  America,  July 
21,  1838.  Son  of  org.  builder;  in 
Vienna  1792,  taught  mus.  and  con- 
structed automatic  trumpeter  and 
Panharmonicon  for  which  Beetho- 
ven wrote  orch.  battle  piece  Vittoria; 
M.  made  ear-trumpets  for  Beetho- 
ven and  others;  adapted  idea  of 
Winkel,  of  Amsterdam,  into  metro- 
nome in  1816;  traveled  far,  exhibit- 
ing his  inventions. 

Maggini  (ma-zhe'-ni),  Giovanni  Paolo, 
vln.-maker.  b.  Botticino  Marino,  Aug. 
25,  1580;  d.  Brescia,  about  1632. 
Apprenticed  to  Gasparode  Salo;  early 
vlns.  resemble  his  master's  and  are 
often  too  much  decorated;  later  ones 
are  more  individual  and  are  of 
value  especially  because  of  well- 
chosen  wood,  cut  in  a  way  of  his 
own.  Son  Pietro  Santo  also  dis- 
tinguished maker. 

Mahillon  (ma-e-yon),  Charles  Victor, 
writer,  b.  Brussels,  Mar.  10,  1841. 
In  firm  with  father  as  manufacturer 
of  wind  instruments;  editor  Echo 
Musical  1869-86;  honorary  custodian 
museum  of  instr.  at  Brussels  Cons, 
since  1876;  author  of  valuable 
catalogue,  of  Elements  d'acoustique 
musicale  el  instrumental^,  etc. 


Mahler  (ma'-ler),  Gustav,  compr.,  condr. 
b.  Kalischt,  Bohemia,  July  7,  1860. 
Pupil  at  Vienna  Univ.,  and  at  Cons, 
of  Epstein  and  Bruckner;  condr.  at 
several  theatres,  capellmeister  at 
Kassel  1883-85,  and  at  Prague  as 
Seidl's  successor,  where  he  gained 
wide  knowledge  of  scores  by  Wagner, 
etc.;  asst.  of  Nikisch  at  Leipzig  1886- 
88;  director  of  opera  at  Pesth  1888- 
91,  thoroughly  reforming  it;  capellm. 
at  Hamburg  1891-97;  since  1897  di- 
rector of  Vienna  Opera,  1898-1900 
condr.  of  Gesellschaft  concerts; 
condr.  at  Covent  Garden  1892,  and 
at  Metropolitan  (N.  Y.)  1907-09; 
remarkably  strong  and  individual 
as  condr.;  composed  operas  and  can- 
tatas, but  chiefly  eight  symphonies  of 
imposing  architectural  construction 
and  individuality  of  content. 

Maillart  (ma-e-yar),  Louis  [called  Aime], 
compr.  b.  Montpellier,  Mar.  24, 
1817;  d.  Moulins,  May  26,  1871. 
Studied  at  Cons,  with  Elwart, 
Leborne,  and  Guerin;  Prix  de  Rome 
1841;  of  his  6  operas,  cantatas,  etc. 
surviving  work  is  Les  dragons  de 
Vittars. 

Mailly  (ma-e-yi),  Alphonse  Jean  Ernest, 
orgt.  b.  Brussels,  Nov.  27,  1833. 
Studied  with  Girschner  at  Brussels 
Cons.,  where  he  became  teacher  of 
pf.  and  org.  1868;  praised  by  Berlioz 
as  virtuoso;  composed  sonatas,  etc. 
for  org.,  and  orch.  works;  living  at 
Brussels  (1910). 

Mainzer  (mln'-tser),  Abbe  Joseph,  teach- 
er, b.  Treves,  Germany,  May  7, 
1807;  d.  Manchester,  England,  Nov. 
10,  1851.  Educated  at  cathedral 
maitrise,  ordained  priest  1826;  ex- 
iled during  Polish  revolution,  went 
to  Brussels,  to  Paris  1834,  where  he 
taught  popular  classes  and  edited 
Chronique  musicale,  to  London  and 
Manchester  1847,  where  he  estab- 
lished people's  singing  classes,  wrote 
Music  for  the  Million,  edited  M's 
Mus.  Times  which  became  present 
Musical  Times  of  London. 

Maitland,  John  Alexander  Fuller, 
writer,  b.  London,  Apr.  7,  1856. 
Educated  at  Camb.  Univ.;  critic  for 
Pott  Matt  Gazette,  Guardian,  and 
Times;  author  of  Eng.  Music  in 
XIX  Century,  lives  of  Joachim  and 
Schumann,  etc.;  editor  of  Fitzwittiam 


MALHERBE 


MARBECK 


Virginal  Book,  of  revised  ed.  Grove's 
Dictionary,  translator  of  Spitta's 
Bach,  etc. 

Malherbe  (maT  arbe),  Charles  Theodore, 
compr.,  writer,  b.  Paris,  Apr.  21, 
1863.  Law  student  and  member  of 
bar;  pupil  of  Danhauser,  Wormser, 
and  Massenet;  Danhauser's  secre- 
tary on  tour  of  public  school  inspec- 
tion 1880-81;  asst.  archivist  to  Paris 
Ope>a  1896,  archivist  1899;  editor 
of  Menestrel,  contributor  to  other 
journals;  compr.  of  unimportant 
music,  author  of  books  on  Wagner, 
notes  on  several  operas,  Histoire  de 
la  seconde  Salle  Favart,  etc.;  editor 
of  works  of  Rameau. 

Malibran  (mal-i-bron) ,  Maria  Felicita, 
dram,  contralto,  b.  Paris,  Mar.  24, 
1808;  d.  Manchester,  England,  Sept. 
23,  1836.  Daughter  of  Manuel 
Garcia;  played  child's  part  in  opera 
at  Naples  at  5;  after  few  lessons  from 
Panseron,  pupil  of  her  father;  d£but 
London  1825  followed  by  improve- 
ment and  success  in  New  York;  un- 
happy marriage  to  Malibran  lasted 
only  a  year;  1827  reappearances  in 
Paris  and  London  established  posi- 
tion as  chief  singer  of  time;  reputa- 
tion and  prices  which  she  commanded 
increased  steadily;  1836  married  De 
Beriot,  the  vlt.,  with  whom  she  had 
been  associated  since  1830;  early 
death  caused  by  fall  from  horse  and 
over-exertion;  charm  seems  to  have 
been  peculiar  timbre  of  her  voice 
(recognized  as  defective  in  middle 
registers),  and  great  force  of  indi- 
vidual fascination;  subject  of  many 
romantic  anecdotes. 

Mailing,  Otto  Valdemar,  compr.  b. 
Copenhagen,  June  1,  1848.  Studied 
with  Gade  and  J.  P.  E.  Hartmann; 
condr.  of  choral  societies;  orgt.  in 
Copenhagen;  teacher  of  theory  at 
Cons.;  compr.  of  symph.,  overture, 
and  other  orch.  works;  Danish 
choruses,  national  pf.  pieces,  etc. 

Mancinelli  (man-chi-nel'-li),  Luigi, 
compr.,  condr.  b.  Orvieto,  Feb.  5, 
1848.  Pupil  in  'cello  of  Sbblci  at 
Florence,  with  few  lessons  in  comp. 
from  Mabellini;  'cellist  in  theatre 
orch.  in  Florence  and  Rome  where 
he  became  condr.  in  an  emergency; 
principal  of  Bologna  Cons.  1881-86; 
condr.  in  London  1886-88,  at  Madrid 


1888-95;  afterwards  in  London  and 
at  Metropolitan,  N.  Y. 

Manney,  Charles  Fonteyn,  compr.  b. 
Brooklyn,  Feb.  8,  1872.  Chorister 
and  soloist  in  Brooklyn;  studied 
theory  with  Wm.  A.  Fisher  in  N.  Y., 
and  after  coming  to  Boston,  in  1898, 
with  Wallace  Goodrich  and  P.  Goet- 
schius;  composed  anthems,  songs,  pf. 
pieces,  and  sacred  cantatas. 

Manns  (mans),  August  [Friedrich], 
condr.  b.  Stolzenburg,  near  Stettin, 
Mar.  12,  1825;  d.  Norwood,  London, 
Mar.  1,  1907.  Pupil  of  Urban;  clari- 
net in  bands  at  Danzig  and  Posen, 
vlt.  in  Gungl's  orch.  at  Berlin;  condr. 
in  Berlin,  Cologne,  and  finally  1855 
at  Crystal  Palace,  London,  where  he 
changed  wind  band  into  full  orch. 
and  conducted  Saturday  concerts 
1856-1901,  where  he  introduced  and 
made  known  many  valuable  works. 

Mara  (ma'-ra),  Gertrude  Elisabeth, 
soprano,  b.  Kassel,  Feb.  23,  1749; 
d.  Reval,  Jan.  20,  1833.  Daughter 
of  musician  Schmeling,  learned  to 
play  vln.  alone;  taken  at  9  as  prodigy 
to  Vienna  and  to  London  where  she 
was  taught  singing  by  Paradies; 
under  instruction  of  J.  A.  Hiller  at 
Leipzig  she  became  first  great  German 
singer;  engaged  for  life  at  Dresden; 
married  unworthy  'cellist  Mara; 
1780  escaped  or  released  from  tyran- 
ny of  King  Frederick  II,  went  to 
Vienna,  Munich,  and  Paris,  where 
she  sang  in  rivalry  with  Todi;  1784- 
1802  won  great  popularity  in  London, 
singing  at  Handel  Festival  and  other 
concerts;  retired  to  Moscow,  lost  all 
her  property  in  fire  1812;  taught  in 
Italy,  failed  totally  on  last  appear- 
ance in  London  1819;  voice  of  re- 
markable range,  stage  presence  al- 
ways hampered  by  disease  contracted 
in  childhood. 

Marbeck  [or  Merbecke],  John,  compr., 
orgt.  b.  1523;  d.  Windsor,  about 
1585.  Chorister  and  orgt.  at  Wind- 
sor; condemned  to  death  as  heretic 
and  narrowly  escaped  burning  1544; 
under  Edward  VI,  free  to  declare 
opinions,  published  (1550)  Booke  of 
Common  Praier  Noted,  in  which 
plain  chant  was  adapted  to  the  new 
ritual;  published  also  commentaries 
and  a  few  hymns;  escaped  later  per- 
secutions and  held  position  as  orgt. 


MARCELLO 


MARETZEK 


Marcello  (mar-chel'lo),  Benedetto, 
compr.  b.  Venice,  July  24,  1686; 
d.  Brescia,  July  24,  1739.  Venetian 
nobleman,  of  high  education,  pupil 
of  Lotti  and  Gasparini;  lawyer  and 
gov't  official  at  Venice,  Pola,  and 
Brescia;  his  greatest  work  is  musical 
setting  for  one  to  four  voices  of 
Giustiniani's  paraphrases  of  Psalms 
I-L;  also  poet  of  distinction  and 
author  of  satirical  essay  II  teatro  alia 
moda. 

March,  Mrs.  G.  E.,  see  Gabriel,  Virginia. 

Marchand  (mar-shon),  Louis,  orgt. 
b.  Lyons,  Feb.  2,  1669;  d.  Paris, 
Feb.  17,  1732.  Orgt.  at  Versailles; 
exiled  1717,  became  court  orgt.  at 
Dresden  to  king  of  Poland;  chal- 
lenged to  competition  with  J.  S. 
Bach,  fled  from  the  ordeal  and  re- 
turned to  Paris  where  his  brilliant 
talents  brought  him  renown  and 
income  as  teacher;  died  in  want. 

Marchant,  Arthur  William,  orgt.,  compr. 
b.  London,  Oct.  18,  1850.  Mus. 
Bac.  Oxford  1879;  held  several  posi- 
tions as  orgt.  in  England,  in  Denver, 
Col. ,1880-82;  after  1895  at  Dumfries, 
Scotland;  composed  services,  an- 
thems, songs,  etc.;  written  Primer, 
500  Fugue  Subjects  and  Answers, 
Voice  Culture. 

Marchesi  de  Castrone  (mar-ka'-zi-de- 
kas-tro'-na),  Salvatore  [properly  S. 
de  C.  Marchese  della  RajataJ.  baritone, 
teacher,  b.  Palermo,  Jan.  15,  1822; 
d.  Paris,  Feb.  20,  1908.  Student  of 
law  and  music  under  Raimondi,  Lam- 
perti,  etc . ;  after  exile  1848  made  d6but 
New  York;  after  study  with  Garcia 
had  success  in  London;  after  mar- 
riage sang  in  England  and  on  Conti- 
nent and  taught  in  several  places 
with  his  wife;  compr.  of  some  songs, 
translator  of  libretti,  author  of  vocal 
method  and  vocalises.  His  wife  Mar- 
chesi  de  Castrone,  Mathilde,  teacher. 
b.  Frankfort-on-Main,  Mar.  26,  1826. 
Daughter  of  merchant  Graumann, 
after  the  loss  of  whose  fortune  she 
adopted  music  as  profession;  studied 
in  Vienna  with  Nicolai  and  in  Paris 
with  Garcia;  1849  success  as  concert 
singer  in  London;  married  1852; 
taught  at  Vienna  Cons.  1854-61,  at 
Paris  1861,  at  Cologne  Cons.  1865- 
68,  at  Vienna  Cons,  again  1868-78, 


then  privately  until  1881,  when  she 
finally  returned  to  Paris;  famous 
teacher  of  pure  style  of  song,  she  has 
had  many  famous  pupils,  lima  de 
Murska,  Gerster,  Melba,  etc.;  pub- 
lished many  vocalises,  a  method,  and 
reminiscences  Marchesi  and  Music. 
Her  daughter  Blanche,  Baronne  Cac- 
camisi,  asst.  of  mother,  concert  singer 
of  some  success  in  England;  operatic 
dSbut  Prague  1900;  recitals  in  U.  S. 
1899,  etc. 

Marchetti  (mar-ket'-ti) ,  Filippo,  compr. 
b.  Bolognola,  Feb.  26,  1831;  d. 
Rome,  Jan.  18,  1902.  Student  of 
music  from  12th  year;  pupil  of 
Conti  at  Naples  1850-54;  1st  and  2d 
operas,  1856,  both  successful;  after 
period  of  ill  success,  moved  to  Milan 
1862,  where  his  Romeo  e  Giulietta 
was  successful  1865,  although  Gou- 
nod's was  given  at  same  time;  Ruy 
Bias,  best  work  1869,  followed  by 
unsuccessful  works;  after  1880  teach- 
ing; principal  Reale  Accad.  di  Santa 
Cecilia  in  Rome  1881,  dir.  Liceo 
there  1885. 

Marchettus  of  Padua,  theorist,  living 
in  Cesena  about  1270;  d.  about  1320. 
In  service  of  Rainier,  Prince  of 
Monaco,  living  at  Cesena  and  Ve- 
rona; wrote  2  treatises,  important 
in  history  of  notation;  his  system 
of  amplifying  current  methods  was 
so  complex  that  it  was  abused  as 
foolish  by  contemporaries. 

Marenzio  (ma-rent'-seo) ,  Luca,  compr. 
b.  Coccaglia,  about  1556;  d.  Rome, 
Aug.  22,  1599.  Studied  at  Brescia 
with  Contini,  in  service  of  Sigismund 
III  of  Poland,  and  of  Cardinal  Aldo- 
brandino;  maestro  and  cantor  at 
papal  chapel;  unsurpassed  as  compr. 
of  madrigals  of  which  he  published 
about  15  books;  great  effect  on  con- 
temporary English  music. 

Maretzek  (ma-ret'-zek) ,  Max,  impre- 
sario, b.  Briinn,  Moravia,  June  28, 
1821;  d.  Pleasant  Plains,  Staten 
Island,  N.Y.,  May  14, 1897.  Studied 
with  Seyfried  in  Vienna;  condr.  in 
Germany,  France,  London,  and  after 
1848  in  New  York,  Mexico,  and 
Havana;  composed  2  operas  (Ham- 
let, The  Sleepy  Hollow,  N.  Y.,  1879); 
wrote  Crotchets  and  Quavers,  and 
Sharps  and  Flats,  accounts  of  own 
experiences. 


MARGIS 


MARSTON 


Margis  (mar-zhi),  Alfred,  compr.  b. 
Colombes,  near  Paris,  Oct.  30,  1874. 
Pupil  of  Chavagnat,etc.;  early  talent 
shown  in  Valse  bleue  composed  at 
19,  while  in  military  service;  then 
followed  series  of  successful  popular 
dances  and  songs  Valse  mauve, 
Christmas  valse,  music  to  several 
plays,  revues,  etc.,  and  songs  Roses 
de  France,  etc. 

Marie  (ma-re),  Gabriel  Prosper,  condr. 
b.  Paris,  Jan.  8, 1852.  Studied  solfeg- 
gio, pf .  and  harmony  at  Paris  Cons. ; 
pst.,  drummer,  and  chorusmaster  at 
Lamoureux  concerts;  chef  d'orch.  at 
several  theatres  and  at  Guilmant  con- 
certs at  Trocade"ro;  composed  works 
for  orch.  and  for  string  instr. 

Mario  (ma'-reo),  Giuseppe,  Cavaliere 
di  Candia,  dram,  tenor,  b.  Cagliari,- 
Sardinia,  Oct.  17,  1808;  d.  Rome, 
Dec.  11,  1883.  After  10  years  in 
Turin  military  service,  became  offi- 
cer in  Piedmontese  guard;  in  Paris 
1836,  popular  amateur,  was  per- 
suaded to  go  on  stage,  and  after 
brief  study  with  Bordogni  and  Pon- 
chard,  made  d6but  1838;  went  over 
to  Italian  opera  1840;  sang  with 
Tamburini,  Lablache,  and  chiefly 
with  Grisi,  whom  he  married;  re- 
tired 1867;  noted  not  only  for  ex- 
quisite singing  but  for  rare  beauty 
of  voice  and  distinguished  presence. 

Marks,  James  Christopher,  compr. 
b.  Armagh,  Ireland,  May  4,  1835; 
d.  Clifton,  July  17,  1903.  Chorister 
at  Armagh  Cath.  under  R.  Turle; 
deputy  orgt.  .there;  orgt.  and  choir- 
master at  Cork  1860;  condr.  Cork 
mus.  soc.;  compr.  of  oratorios,  ser- 
vices, etc.  Son,  same  name,  b.  July 
29,  1863;  orgt.  at  Cork,  compr.  of 
anthems,  services,  part-songs,  etc.; 
removed  to  New  York,  orgt.  there. 

Marmontel  (mar-mon-tel'),  Antoine 
Francois,  compr.,  teacher,  b.  Cler- 
mont-Ferrand, July  18,  1816;  d. 
Paris,  Jan.  17,  1898.  Pupil  at  Paris 
Cons,  of  Zimmermann,  Dourlen, 
HaleVy,  and  Lesueur;  1837  teacher 
of  solfeggio,  1848-87  of  pf.;  among 
pupils  were  Bizet,  d'lndy,  Dubois, 
and  many  others;  pf.  music  is  chiefly 
instructive,  Etudes  de  mecanisme, 
etc.;  writings  on  pf.  playing  and 
teaching,  Les  pianistes  celebres,  Virtu- 
oses  contemporains,  etc. 


Marpurg  (mar-poo rg'),  Friedrich  Wil- 
helm,  theorist.  b.  Marpurgshof, 
near  Seehausen,  Nov.  21,  1718;  d. 
Berlin,  May  22,  1795.  Secretary  to 
Gen.  Rothenberg  at  Paris  (1746-49); 
acquaintance  of  Rameau;  lived  at 
Berlin  and  Hamburg;  director  of 
lottery  at  Berlin  1763;  critical  writ- 
ings distinguished  for  moderation 
and  good  taste;  wrote  treatises  on 
composition,  church  music,  Abhand- 
lung  von  der  Fuge  (exhaustive  treat- 
ment of  subject,  his  greatest  work), 
Historisch-  Kritische  Beitrage,  his- 
tory of  organ,  method  for  pf.,  etc. 

Marschner  (marsh'-ner),  Heinrich  Au- 
gust, compr.  b.  Zittau,  Aug.  16, 
1795;  d.  Hanover,  Dec.  14,  1861. 
Early  admired  as  singer  and  pst.; 
in  Leipzig  as  law  student  was  per- 
suaded to  .become  musician  and 
studied  with  Schicht;  invited  to 
Vienna  1817,  is  said  to  have  been 
aided  by  Beethoven;  production  of 
operas  at  Pressburg  led  to  appoint- 
ment at  Dresden  1823  as  joint  condr. 
with  Weber  and  Morlacchi;  capell- 
meister  Leipzig  1826-31,  at  Han- 
over 1831-1859,  when  he  retired. 
Most  famous  operas  are  Der  Vampyr, 
Der  Templar  und  die  Judin,  Hans 
Heiling  (greatest);  among  German 
romantic  comprs.  M.  is  usually 
placed  next  to  Weber,  with  whose 
works  his  show  great  similarity; 
orchestration  is  brilliant  and  effec- 
tive, and  his  flow  of  melody  unceas- 
ing both  in  operas  and  in  ballads 
and  choruses,  some  of  which  are  still 
popular. 

Marsick  (mar-sik),  Martin  Pierre 
Joseph,  vlt.  b.  Jupille,  Belgium, 
Mar.  9,  1848.  Studied  at  Liege 
Cons,  with  Desire"-Heynberg,  at 
Brussels  Cons,  with  Leonard,  at 
Paris  Cons,  with  Massart,  and  at 
Berlin  with  Joachim;  d6but  at  Con- 
certs populaires  1873;  prof,  of  vln. 
at  Paris  Cons.  1892-1900;  long 
artistic  tours  in  Europe  and  in  U.  S. 
1895-96;  faultless  but  not  emotion- 
ally moving  as  performer. 

Marston,  George  W.,  orgt.,  compr.  b. 
Sandwich,  Mass.,  May  23,  1840;  d. 
there,  Feb.  2,  1901.  Studied  with 
J.  E.  Tufts  in  Portland,  Me.,  and 
on  two  trips  to  Europe;  lived  in 
Portland  as  teacher  of  pf.,  organ  and 
harmony  (H.  A.  Norris  among 


MARTEAU 


MASCAGNI 


pupils);  composed  church  music, 
songs  (Could  ye  come  back  to  me, 
Douglas,  Marguerite,  etc.). 

Marteau  (mar-to),  Henri,  vlt.  b. 
Rheims,  Mar.  31,  1874.  Son  of 
musical  parents;  pupil  of  Bunzl, 
then  of  Leonard;  1884  d6but  in 
Vienna;  1885  chosen  by  Gounod  to 
play  at  Joan  of  Arc  centenary; 
studied  at  Paris  Cons,  with  Marsick, 
winning  1st  prize  1892;  came  to  U.  S. 
1893,  1898,  1906,  played  in  Russia 
1897-99;  prof,  at  Geneva  Cons.  1900; 
succeeded  Joachim  as  head  of  violin 
dept.  in  Berlin  Hochschule  1908;  one 
of  the  great  artists  of  his  generation; 
especially  noteworthy  for  absence 
of  affectation  combined  with  great 
ability  and  wide  range  of  expressive 
power. 

Martin,  Sir  George  Clement,  compr., 
writer,  b.  Lambourne,  Berkshire, 
Sept.  11,  1844.  Pupil  of  J.  Pearson 
and  Stainer;  orgt.  to  Duke  of  Buc- 
cleugh,  master  of  choristers  at  St. 
Paul's,  London,  1874,  deputy  orgt. 
1876,  orgt.  1888;  teacher  of  org.  at 
Royal  Coll.;  composed  services,  Te 
Deum  for  orch.,  arranged  also  for 
military  band,  Te  Deum  sung  at 
Queen's  Jubilee  on  steps  of  St.  Paul's; 
knighted  1897. 

Martini  (mar-te'-ni),  Giovanni  Battista 
[or  Giambattista,  known  as  Padre  M.], 
compr.,  theorist,  b.  Bologna,  Apr. 
24, 1706;  d.  there,  Oct.  4, 1784.  Pupil 
of  father,  vlt.,  Predieri,  and  Riccieri; 
maestro  di  cappella  at  church  of  San 
Francisco;  took  orders  1729;  aided 
by  Perti  and  Zanotti  became  author- 
ity on  music,  mathematics  and  his- 
tory; largest  library  of  time;  con- 
sulted as  teacher  by  great  contem- 
poraries, Gluck,  Mozart,  Gr6try, 
etc.;  compr.  of  church  music,  author 
of  history  of  ancient  music,  etc. 

Martucci  (mar-toot'-chi),  Giuseppe,  pst., 
compr.  b.  Capua,  Jan.  6,  1856;  d. 
June  1,  1909.  Studied  with  father, 
trumpet  player;  after  d6but  as  child 
pst.,  studied  at  Naples  Cons,  under 
Cesi,  Serrao,  and  L.  Rossi;  profes- 
sor there  1874,  director  of  Societa  del 
quartette  and  other  concerts;  director 
of  Liceo,  Bologna,  1886,  and  of  Cons, 
in  Naples  1902;  composed  2symph., 
pf.  concerto,  chamber  music  and  pf. 
pieces;  distinguished  as  virtuoso. 


Marty  (mar-te'),  Eugene  Georges, 
compr.  b.  Paris,  May  16,  1860.  At 
Paris  Cons,  took  Grand  prix  de 
Rome  1882;  director  vocal  ensemble 
classes  Cons.  1892-1904;  chorus- 
master  Eden  Th.  1892,  Grand  Op6ra 
1893;  condr.  Ope>a  Comique  1900; 
since  1901  at  Cons.;  composed 
symph.  poem  Merlin  enchante,  over- 
tures, pantomimes,  operas,  songs,  etc. 

Marx,  Adolf  Bernhard,  theorist,  b. 
Halle,  May  15,  1795;  d.  Berlin,  May 
17,  1866.  Gave  up  legal  position  for 
music;  pupil  of  Turk  and  Zelter; 
with  Schlesinger  founded  Berliner 
Allgemeine  Musik  Zeitung  (1824-30), 
which  helped  cause  of  German  mus.; 
lecturer,  prof,  and  mus.  director  at 
Berlin  Univ.;  with  Kullak  and  Stern 
founded  Stern  Cons.  1850;  retired 
1856;  wrote  Die  Lehre  von  der  mus. 
Komposition,  Beethovens  Leben  und 
Schaffen,  Gluck  und  die'  Oper,  and 
Erinnerungen. 

Marzials  (mar'-tsi-al),  Theophile  Jules 
Henri,  compr.  b.  Brussels,  Dec.  21, 

'  1850.  Pupil  of  M.  L.  Lawson  in 
London,  where  he  was  made  supt.  of 
mus.  dept.  at  British  Museum  in 
1870;  good  baritone  singer;  compr. 
of  several  popular  songs  (Twicken- 
ham Ferry,  Three  Sailor  Boys,  That 
Sweet  Story  of  Old,  etc.). 

Marzo  (mart'-so),  Eduardo,  compr.  b. 
Naples,  Nov.  29,  1852.  Pupil  of 
Nacciarone,  Miceli,  and  Pappalardo; 
came  to  New  York  as  pst.  1867;  con- 
ducted opera  companies,  accom- 
panied Mario,  Sarasate,  and  others; 
orgt.  in  New  York;  teacher,  singer, 
composer  chiefly  of  church  music, 
songs,  compiler  of  vocal  works. 

Mascagni  (mas-can'-yi) ,  Pietro,  compr. 
b.  Leghorn,  Dec.  7,  1863.  Became 

Eupil  of  Soffredini  in  secret,  against 
ither's  wishes;  befriended  by  uncle, 
and  later  by  Count  Florestano;  pupil 
of  Ponchielli  and  Saladino  at  Milan 
Cons. ;  conducted  several  small  opera 
companies,  finally  settling  as  teacher 
and  condr.  of  local  society  at  Cerig- 
nola;  1899  won  prize  offered  by 
Sonzogno,  Milan  publisher,  for  one- 
act  opera  with  his  Cavatteria  Rusti- 
cana  (perf.  1890);  this  brought  him 
at  once  universal  renown;  the  dra- 
matic force  and  intense  emotionalism 
of  the  music  have  been  called  cheap 


MASCHERONI 


MASSE 


sensationalism  by  later  cooler  judg- 
ment, but  the  work  is  still  popular, 
and  has  had  influence  in  encouraging 
one-act    works    and    developing    a 
somewhat  crude  realism  in  music; 
later  operas  have  been  less  and  less  ' 
successful;   they  are   L'Amico  Fritz ! 
1891,  I  Rantzau  1892,  Ratdiff  1894, 
Zanetto  and  Silvano  1895,  Iris  1898,  j 
Lemaschere  1901,  Arnica  1905;  direct-  j 
or  of  Cons,  at  Pesaro  1895-1903,  when 
delayed  return  from  unsuccessful  tour 
in  U.  S.  caused  him  to  be  replaced,     j 

Mascheroni     (mas-ker-o'-ni),     Angelo, 
compr.    b.  Bergamo,  about  1856;  d.  j 
there,  April,  1905.     While  studying  j 
law,    took    lessons    of    Boucheron;  i 
capellmeister    1883    at    Pordenone,  j 
188571893  at  Rome;  chosen  1894  by 
Verdi  to  conduct  first  perf .  of  Falstaff 
at  Milan  and  in  other  cities;  com- 
posed opera  Lorenzo,  1901. 

Mason,  Lowell,  teacher,  b.  Medfield, 
Mass.,  Jan.  8,  1792;  d.  Orange,  N.  J., 
Aug.  11,  1872.  Self-taught,  directed 
church  choir  at  16;  clerk  at  Savannah 
1812-27,  teaching,  conducting  mean- 
while, under  influence  of  F.  L.  Abel, 
with  whom  M.  made  collection  of 
psalm  tunes  published  1822  with- 
out his  name  as  Handel  and  Haydn 
Society's  Collection  of  Church  Music; 
came  to  Boston  1826,  as  director  of 
music  at  three  prominent  churches; 
1827  pres.  and  condr.  H.  and  H.  Soc.; 
1832  with  Webb  established  Acad- 
emy of  Music  (for  popular  classes 
and  concerts);  1838  taught  in  public 
schools;  also  established  teachers' 
conventions  in  several  places;  re- 
moved to  New  York  1851;  influence 
of  his  classes,  collections,  and  manuals 
was  very  wide  and  largely  promoted 
increase  of  good  music  taste.  His  son 
Mason,  William,  pst.,  teacher,  b.  Bos- 
ton, Mass.,  Jan.  24,  1829;  d.  New 
York,  July  14,  1908.  Pupil  of  H. 
Schmidt  in  Boston  (where  he  played 
in  1846),  of  Mpscheles,  Hauptmann, 
and  Richter  in  Leipzig,  of  Drey- 
schock  in  Prague,  and  of  Liszt  in 
Weimar;  after  appearances  abroad, 
returned  to  U.  S.  1854;  made  first 
tour  of  pf.  recitals  alone;  founded 
chamber  music  concerts  in  N.  Y. 
with  Theodore  Thomas;  honorary 
Mus.  Doc.  Yale  1872;  long  and 
successful  career  as  teacher  of 
Sherwood,  RiveVKing,  Mathews  and 


many  others;  author  of  valuable  pf. 
methods,  Pianoforte  Technics  and 
Touch  and  Technic;  his  playing  was 
distinguished  for  remarkable  accu- 
racy and  delicacy  of  touch;  influen- 
tial in  introducing  in  America  works 
of  Brahms  and  Schumann;  Memories 
of  a  Musical  Life  contains  many  anec- 
dotes of  his  great  contemporaries. 


Mason,    Daniel    Gregory,    writer. 
iss.,    Nov. 


b. 

Brookline,  Mass.,  Nov.  20,  1873. 
Graduated  Harvard  1895;  studied 
music  in  Boston,  N.  Y.,  and  Paris; 
composed  pf.  music;  wrote  '  From 
Grieg  to  Brahms,  Beethoven  and  his 
Forerunners,  The  Romantic  Com- 
posers, The  Orchestral  Instruments 
and  How  to  use  Them  (1909);  edited 
Masters  in  Music  6  vols.  1903-06; 
contributor  to  Outlook  and  Scribner's 
as  well  as  to  musical  periodicals. 

Mason,  Luther  Whiting,  teacher,  b. 
Turner,  Me.,  Apr.  3,  1828;  d.  Buck- 
field,  Me.,  July  14,  1896.  Self- 
taught;  supt.  of  public  school  music 
in  Louisville  and  Cincinnati;  in- 
vented "  National  System "  of 
graded  instruction  by  charts  and 
books;  1865  reformed  music  in  Bos- 
ton primary  schools;  1879-82  supt. 
of  school  music  in  Japan,  where  such 
music  is  now  called  "  Mason-song." 

Massart  (mas-sar),  Lambert  Joseph, 
vU.  b.  LiSge,  July  17,  1811;  d.  Paris, 
Feb.  13,  1892.  Pupil  of  Delavau 
who  persuaded  town  of  Liege  to  send 
him  to  Paris;  there  refused  admission 
to  Cons,  as  foreigner,  became  pupil 
of  R.  Kreutzer;  fine  but  shy  per- 
former; prof,  at  Paris  Cons.  1843- 
1890;  among  many  famous  pupils 
were  Wieniawski,  Sarasate,  Marsick, 
Loeffler,  etc.  Wife,  nee  Louise  Aglae 
Masson  (1827-1887),  teacher  of  pf. 
at  Cons. 

Masse  (mas-sa),  Felix  Marie  [called 
Victor],  compr.  b.  Lorient,  Mar.  7, 
1822;  d.  Paris,  July  5,  1884.  Studied 
at  Paris  Cons,  with  Zimmermann  and 
HaleVy;  Grand  prix  de  Rome  1844; 
after  publishing  successful  Melodies 
and  Romances,  composed  operas,  of 
which  Les  noces  de  Jeannette  1853 
was  by  far  most  successful;  La  reine 
Tapare  and  Miss  Fauvette  and  others 
well  received;  1860-1876  chorusmas- 
ter  at  Ope>a;  1866-80  prof,  of  comp. 
at  Cons.;  member  of  Institute  1872. 


MASSENET 


MAUREL 


Massenet  (mas-se'-na),  Jules  Emile 
Frederic,  compr.  b.  Montaud,  near 
St.  Etienne,  May  12,  1842.  Studied 
at  Paris  Cons,  with  Laurent,  Reber, 
Savard,  and  A.  Thomas;  1st  prize 
pf.  1859,  fugue  and  Prix  de  Rome 
1863;  prof,  of  comp.  at  Cons.  1878- 
1896;  1878  member  of  Academy; 
compr.  of  several  orch.  suites,  pf. 
concerto,  oratorios  (Eve,  La  terre 
promise,  etc.),  incidental  music  to 
several  plays,  and  about  20  operas, 
of  which  the  most  noted  are  Don 
Cesar  de  Bazan,  Le  Cid,  Herodiade, 
Esclarmonde,  Thais,  Manon,  La 
Navarraise,  Le  Jongleur  de  Notre 
Dame;  introduced  orch.  accompani- 
ment to  connecting  dialogue  in 
Manon;  otherwise  music,  though 
skilful,  often  charming,  and  always 
popular,  contains  neither  the  force 
nor  individuality  which  promises 
permanence. 

Materna,  Axnalie,  dram.  sop.  b.  St. 
Georgen,  Styria,  July  10,  1847. 
Daughter  of  schoolmaster;  delbut 
Graz  about  1864;  after  marriage 
with  actor  Karl  Friedrich,  appeared 
in  operetta  in  Vienna,  finally  at 
Vienna  Opera  1869;  from  then  until 
retirement  1897  sang  all  great  Ger- 
man roles,  especially  Brunnhilde; 
first  Kundry  in  Parsifal  1882;  sang 
in  N.  Y.  1882,  at  Wagner  Festival 
1884,  and  several  seasons  at  Metro- 
politan after  1885;  possibly  "greatest 
of  German  women  singers."  [Lahee.] 

Mathews,  William  Smythe  Babcock, 
writer,  b.  New  London,  N.  H.,  May 
8,  1837.  After  study  at  home,  in 
Lowell,  and  Boston,  taught  pf.  at 
Macon,  Ga.,  and  other  Southern 
towns;  frequent  contributor  to 
Dwight's  Journal  and  to  Chicago 
papers  after  settling  there  1867; 
edited  magazine  Music,  largely  col- 
ored by  his  personal  opinions,  but 
none  the  less  interesting;  wrote  Out- 
lines of  Musical  Form,  How  to  Under- 
stand Music,  Popular  Hist,  of  Mus., 
The  Masters  and  their  Music,  100 
Years  of  Music  in  America,  Music, 
Its  Ideals  and  Methods,  The  Great  in 
Music;  and  several  other  instructive 
works;  1910  removed  from  Chicago 
to  Denver,  Col. 

Mathias  (ma-ti-a),  Georges  Amedee 
Saint  Clair,  pst.,  compr.  b.  Paris,  Oct. 
14,  1826.  Studied  with  Savard, 


Bazin,  and  Halevy  at  Cons.,  and  with 
Kalkbrenner  and  Chopin;  prof,  at 
Cons.  1862-87;  composed  symph., 
overtures,  useful  pf.  eludes,  etc. 

Mathieu  (ma-ti-e),  Emile  Louis  Victor, 
compr.  b.  Lille,  Oct.  16,  1844. 
Studied  at  Louyain,  at  Brussels 
Cons,  with  Fe"tis,  Dupont,  twice 
winning  2d  Grand  prix  de  Rome, 
1867-73  prof,  at  Louvain  Mus. 
School,  1881-98  director;  1873-74 
chef  d'orch.  at  Th.  du  Chatelet, 
Paris;  since  1898  director  of  Ghent 
Cons.;  compr.  of  several  operas,  can- 
tatas, 3  grand  Poemes  lyriques  et 
symphoniques  for  which  he  wrote  the 
text. 

Mattel  (mat-ta'-i),  Tito,  compr.  b. 
Campobasso,  near  Naples,  May  24, 
1841.  Pf.  pupil  of  Maggpni,  Thai- 
berg,  etc.;  prof,  at  Sta.  Cecilia  Accad. 
in  Rome  at  11;  after  tours  in  Europe, 
settled  in  London  1865;  condr.  at 
Her  Majesty's  Theatre;  composed 
2  operas,  ballet,  and  much  brilliant 
pf.  music. 

Mattheson  (mat'-te-son),  Johann, 
writer,  b.  Hamburg,  Sept.  28.  1681; 
d.  there,  Apr.  17,  1764.  Of  extraor- 
dinary versatility,  student  of  law, 
of  languages,  orgt.,  pst.,  singer,  actor, 
and  ambassador;  sang  and  conducted 
at  harpsichord  at  Hamburg  opera; 
benefactor  of  Handel  until  their 
quarrel;  1715-28  director  and  cantor 
at  cathedral  where  he  contributed 
to  development  of  church  cantata; 
retired  because  of  deafness;  several 
compositions,  none  extant;  impor- 
tant for  many  writings,  chiefly  for 
biographies  of  contemporary  musi- 
cians and  Der  vollkommene  Kapell- 
meister. 

Maunder,  John  Henry,  orgt.,  compr. 
b.  Chelsea,  London,  Feb.  21,  1858. 
Studied  at  Royal  Acad.;  orgt.  at 
Sydenham  and  Forest  Hill;  accomp. 
for  Sims  Reeves  and  others; 
trained  choir  for  Henry  Irving's 
Faust;  composed  operetta,  cantatas, 
(From  Olivet  to  Calvary,  etc.)  several 
anthems,  services,  etc. 

Maurel  (mo-rel),  Victor,  baritone,  b. 
Marseilles,  June  17,  1848.  Studied 
at  Paris  Cons,  with  Vauthrot  and 
Duvernoy;  d^but  1868  at  Opera; 
after  seasons  in  Italy,  Spain,  Amer- 
ica, St.  Petersburg,  etc.  returned  to 


MAYBRICK 


MEHUL 


Opera  1879-1894  (1883-84  he  man- 
aged with  Corti  vain  attempt  to 
revive  Italian  Opera  in  Paris);  at 
Ope"ra  Comique  1894-1904,  with 
occasional  appearances  as  actor; 
published  L' Art  du  chant  and  Dix 
ans  de  carriers;  greatest  roles  are 
Don  Juan,  Rigoletto,  and  logo  in 
Verdi's  Otello;  distinguished  for 
excellence  of  dramatic  impersonation 
even  after  voice  became  worn; 
teacher  in  New  York  1909. 

Maybrick,  Michael,  baritone  [under 
pseud.  Stephen  Adams],  b.  Liver- 
pool, Jan.  31,  1844.  Studied  org. 
with  Best,  pf.  with  Plaidy  and 
Moscheles,  harm,  with  Richter  at 
Leipzig,  and  singing  with  Nava  at 
Milan;  successful  in  English,  Ameri- 
can and  Canadian  concerts,  especially 
in  own  songs,  of  which  several  are 
very  popular  ( Nancy  Lee,  Blue  Alsa- 
tian Mountains,  etc.). 

Mayer  (ma-yar),  Charles,  pst.  b. 
Konigsberg,  Mar.  21,  1799;  d. 
Dresden,  July  2,  1862.  Studied  with 
mother  and  in  St.  Petersburg  with 
Field,  whose  playing  his  closely 
resembled;  after  tour  to  Paris  with 
father,  clarinetist,  1814,  became  suc- 
cessful teacher  in  St.  P.;  after  tour 
to  Stockholm,  Copenhagen,  etc., 
settled  in  Dresden  1850;  composed 
about  900  pieces,  chiefly  for  pf . ;  Polka 
bohemienne,  once  very  popular,  Ma- 
zurka in  F  sharp  maj.  included  by 
Klindworth  in  1st  ed.  of  Chopin's 
works. 

Maylath  (mi'-lat),  Heinrich,  pst.  b. 
Vienna,  Dec.  4,  1827;  d.  New  York, 
Dec.  31,  1883.  Studied  with  his 
father;  after  Continental  tours,  lived 
in  Russia,  and  after  1867  in  New 
York;  compr.  of  instructive  pf.  music 
and  excellent  concert  pieces. 

Mayseder  (mi'-za-der),  Joseph,  vlt., 
compr.  b.  Vienna,  Oct.  26,  1789;  d. 
there,  Nov.  21,  1863.  Studied  with 
Suche  and  Wranitzky;  ddbut  1800; 
2d  vln.  in  Schuppanzigh  quartet; 
member  of  court  orch.  1816;  solo  vlt. 
court  opera  1820,  imperial  chamber 
virtuoso  1835;  though  he  was  a  fasci- 
nating player  in  elevated  style,  he 
never  went  on  tours,  seldom  gave  con- 
certs, after  1837  never  played  in  pub- 
lic ;  many  distinguished  pupils ;  about 
63  compositions,  dignified  in  style. 


Mazas  (ma-zas),  Jacques  Fereol,  vlt. 
b.  Beziers,  Sept.  23,  1782;  d.  there, 
1849.  Studied  at  Paris  Cons,  with 
Baillot,  1st  prize  1805;  member  of 
orch.  at  Italian  opera;  traveled  in 
Europe,  returning  to  Paris  1829-37; 
director  of  music  school  at  Cambrai 
1837-41;  wrote  effective  compo- 
sitions for  vln.,  duets  for  stringed 
instruments  especially  valued,  meth- 
ods for  vln.  and  viola,  and  3  operas. 

Mead,  Olive,  vlt.  b.  Cambridge,  Mass., 
Nov.  22,  1874.  Studied  vln.  early, 
with  Eichberg  and  later  with  Kneisel; 
played  with  considerable  success  at 
many  concerts,  with  Boston  Symph. 
Orch.  1898,  1899,  1900,  1904;  leader 
of  Olive  Mead  Quartet. 

Mees  (mas),  Arthur,  condr.  b.  Co- 
lumbus, O.,  Feb.  13,  1850.  Studied 
in  Berlin  with  Kullak,  Weitzmann, 
and  H.  Dorn;  condr.  Cincinnati  May 
Festival  chorus,  and  of  societies  in 
N.  Y.,  Albany,  etc.;  1896  chorus 
condr.  to  Thomas  Orch.;  writer  of 
program  notes  N.  Y.  Philharmonic 
1887-96,  and  Chicago  Orch.  1896- 
97;  condr.  Worcester  Festival  1908; 
published  Choir  and  Choral  Music 
(1901). 

Mehlig  (ma'-lig),  Anna,  pst.  b.  Stutt- 
gart, June  11,  1843.  Pupil  of  Lebert 
and  of  Liszt;  d6but  about  1866;  very 
successful  especially  in  England  and 
in  America  1869-70;  since  marriage 
to  Falk  of  Antwerp  has  lived  in 
partial  retirement. 

Mehul  (ma-til),  Etienne  Nicolas,  compr. 
b.  Givet,  Ardennes,  June  22,  1763; 
d.  Paris,  Oct.  18,  1817.  Son  of  a 
cook,  learned  to  play  org.  from  blind 
orgt.  and  was  made  orgt.  at  convent 
at  10;  became  novice  at  monastery 
of  Lavaldieu  in  order  to  take  lessons 
of  Hauser,  whose  deputy  he  became 
1777;  pf.  pupil  of  Edelmann  in  Paris 
after  1778;  inspired  by  performance 
of  Iphigenie  en  Tauride  1779,  be- 
came disciple  of  Gluck  who  per- 
suaded him  to  turn  to  operatic 
comp.;  after  first  success  at  Th. 
Italien  with  Euphrosyne  et  Coradin 
in  1790,  M.  produced  24  operas  in 
17  years,  of  which  Stratonice,  Uthal, 
and  especially  Joseph  are  note- 
worthy; also  composed  several  polit- 
ical chants;  inspector  of  Cons,  and 
member  of  Academy  1795;  though 


MEINARDUS 


MENDELSSOHN-BARTHOLDY 


his  symphonies  were  unimportant, 
his  operatic  overtures  (that  to  Le 
jeune  Henri,  for  example)  are  supe- 
riortothoseof  contemporaries;  operas 
as  whole  show  ingenuity,  skill,  re- 
finement, and  individuality  in  orches- 
tral combinations  and  force  of  dra- 
matic feeling  carefully  expressed  in 
accordance  with  the  theories  of 
Gluck;  his  inspiration  was  not  always 
equal  to  his  ability. 

Meinardus  (mi-nar'-dus),  Ludwig  Sieg- 
fried, compr.,  writer,  b.  Hooksiel, 
Oldenburg,  Sept.  17,  1827;  d.  Biele- 
feld, July  10,  1896.  On  advice  of 
Schumann,  turned  from  'cello  play- 
ing to  composition;  studied  at  Leip- 
zig Cons.,  privately  with  Riccius, 
with  Liszt  and  with  Marx;  condr.  at 
Glogau;  pf.  teacher  Dresden  Cons. 
1865-74;  lived  in  Hamburg  until 
1887,  when  he  became  orgt.  at  Biele- 
feld; composed  oratorios  (Simon 
Petrus,  Luther  in  Worms,  etc.), 
choral  ballads,  etc.,  orch.  and  cham- 
ber music;  wrote  autobiography, 
books  on  Mattheson,  Mozart,  history 
of  German  music. 

Melba,  Nellie  [pseud,  of  Nellie  Ann- 
strong,  nee  Mitchell],  dram.  sop.  b. 
Melbourne,  Australia,  May  19,  1859. 
Early  instructed  in  music,  but  father 
objected  to  professiqnal  appearance; 
after  marriage  in  1882  to  Capt.  Arm- 
strong, studied  with  Mme.  Marchesi 
in  Paris  for  one  year;  debut  Brussels 
1887  was  followed  by  brilliant  suc- 
cesses in  London,  Paris,  St.  Peters- 
burg, Italy,  and  America  (where  she 
sang  first  in  New  York  1893),  and 
Australia  1902;  her  voice  is  remark- 
ably even  throughout  its  range  of 
1\  octaves,  unusually  flexible,  and 
brilliant  and  silvery  in  tone;  her 
repertoire  includes  the  Italian  roles, 
many  French  ones  (Juliette  is  one 
of  her  favorites),  Elsa  being  the  only 
Wagnerian  one. 

Mendelssohn-Bartholdy  (men'-del-spn 
bar'-tol-dy),  Jacob  Ludwig  Felix, 
compr.  b.  Hamburg,  Feb.  3,  1809; 
d.  Leipzig,  Nov.  4,  1847.  Grandson 
of  philosopher  Moses  Mendelssohn 
and  son  of  banker  (who  added  Bar- 
tholdy  to  name  in  memory  of  his 
brother-in-law),  removed  to  Berlin 
1812,  where  Felix  and  sister  Fanny 
showed  early  talent  for  music; 
taught  by  their  mother  and  L. 


Berger  on  pf.,  Henning  vln.,  and 
Zelter  theory;  Felix  played  at  con- 
cert 1818,  entered  Singakademie 
1819;  weekly  Sunday  gatherings  at 
father's  house  gave  him  remarkable 
opportunities  to  hear  his  own  com- 
positions played  by  small  orch.; 
taught  by  Mme.  Bigot  on  first  visit 
to  Paris  1816;  met  many  of  great 
contemporaries  on  second  visit  1825; 
1826  composed  overture  to  Mid- 
summernight's  Dream;  studied  at 
Berlin  Univ.;  1824  had  lessons  from 
Moscheles;  1829  produced  Bach's 
St.  Matthew  Passion  at  Berlin  Singa- 
kademie and  thus  revived  interest 
in  Bach's  works;  1829  made  his  first 
trip  to  London,  where  he  brought  out 
his  first  symphony;  trip  to  Scotland, 
where  he  received  impressions  ex- 
pressed in  Hebrides  Overture,  Scotch 
symph.,  etc.;  after  long  visit  to  Italy 
and  to  Paris,  again  in  London;  on 
return  to  Berlin  failed  to  get  position 
as  condr.  of  Singakademie;  1833-35 
town  musical  director  at  Diisseldorf , 
conducting  Lower  Rhenish  Festival 
1833,  Cologne  1835,  and  making  3d 
trip  to  London;  1835  became  condr. 
at  Gewandhaus  Concerts  in  Leipzig, 
position  in  which  he  attained  very 
great  influence  on  musical  life  of  all 
Europe;  1837  married  Ce"cile  Char- 
lotte Sophie  Jeanrenaud,  with  whom 
he  lived  a  singularly  happy  life; 
1843  with  others  founded  Leipzig 
Cons,  and  drew  to  it  such  teachers 
as  Hauptmann,  David,  and  Schu- 
mann; Fr.  Wilhelm  IV  of  Prussia 
repeatedly  tried  to  draw  M.  to  Ber- 
lin, where  he  lived  for  a  while  in  1841, 
1842  as  Royal  Mus.  director  and  in 
1845,  but  he  seems  never  to  have 
been  as  happy  or  as  successful  there 
as  in  Leipzig;  he  made  in  all  ten  trips 
to  London,  where  he  was  most  popu- 
lar; his  death  followed  shortly  after 
that  of  his  sister  Fanny  and  is  said 
to  have  been  hastened  by  that  shock. 
M.  was  a  conductor  of  rare  power 
and  discernment,  a  performer  of 
surprising  ability  and  expressiveness, 
a  generous  critic  and  teacher,  and 
an  individual  of  very  great  personal 
charm,  much  of  which  appears  in  his 
published  letters.  A  versatile  compr., 
he  wrote  oratorios  St.  Paul  and 
Elijah,  overtures,  music  to  Antigone, 
First  Walpurgis  Night,  Midsummer- 
night's  Dream,  Athalia,  (Edipus  in 


MENTER 


METHFESSEL 


Colonos,  4  symph.,  vln.  and  2  pf. 
concertos,  chamber  mus.,  of  which 
the  pf.  trios  rank  high,  many  pf. 
pieces,  notably  Songs  without  Words 
and  many  brilliant  concert  pieces; 
songs,  part-songs,  psalms,  etc.,  comic 
opera  Son  and  Stranger,  and  parts  of 
opera  Lorelei. 

Menter,  Sophie,  pst.  b.  Munich,  July 
29,  1848.  Daughter  of  'cellist 
Joseph  M.  (1808-1856);  studied  at 
Munich  Cons,  with  Leonhard,  Schon- 
chen,  later  with  Lebert,  Niest,  Von 
Biilow,  Tausig,  and  Liszt;  after  suc- 
cessful tour,  appeared  at  Gewandhaus 
in  Leipzig  1867;  studied  further  with 
Tausig  and  Liszt;  married  'cellist 
Popper  1872,  divorced  1886;  taught 
at  St.  Petersburg  1880-87;  after  that 
made  her  home  in  Tyrol,  playing 
occasionally  in  concerts. 

Mercadante,  Giuseppe  Saverio  Raffaelle, 
compr.  b.  Altamura,  Sept.  17,  1795; 
d.  Naples,  Dec.  17,  1870.  Studied 
with  Zingarelli  at  Naples;  early  in- 
strumental works  won  praise  from 
Rossini;  after  success  of  L'Apoteosi 
d'Ercole  1819,  composed  series  of 
operas  for  different  Italian  cities; 
1833  maestro  di  cappella  at  Novara, 
1839  at  Lanliano;  1840  director  of 
Naples  Cons.;  1862  became  blind; 
composed  masses  and  cantatas, 
hymn  to  Garibaldi,  funeral  symph. 
to  Rossini,  Bellini,  Donizetti;  most 
notable  opera  II  Giuramento. 

Merkel,  Gustav  Adolf,  compr.  b. 
Oberoderwitz,  Saxony,  Nov.  12, 
1827;  d.  Dresden,  Oct.  30,  1885. 
Studied  with  Schneider  and  Otto 
and  to  some  extent  with  Schumann 
and  Reissiger;  orgt.  at  Dresden; 
taught  in  Cons,  there  after  1861; 
condr.  of  Singakademie  1867-73; 
compositions  almost  all  for  org.,  of 
great  nobility,  especially  sonatas  and 
fugues. 

Mersenne  (mer-sen'),  Marie,  writer,  b. 
Oize,  France,  Sept.  8,  1588;  d.  Paris, 
Sept.  1,  1648.  Franciscan  monk; 
received  full  orders  1613;  taught 
philosophy  at  Nevers;  studied  mathe- 
matics and  music  in  company  with 
Descartes,  etc.,  at  Paris;  wrote  sev- 
eral treatises  of  which  most  impor- 
tant is  Harmonic  universelle,  describ- 
ing contemporary  instruments  and 
theories,  etc. 


Merulo  [properly  Merlotti],  Claudio, 
[called  da  Correggio],  orgt.,  teacher, 
b.  Correggio,  April  8, 1533;  d.  Parma, 
May  4,  1604.  Studied  with  Menon 
and  Donati;  orgt.  at  Brescia;  2d 
orgt.  1557  and  1st  orgt.  1556-86  at 
St.  Mark's,  Venice;  publisher  there; 
court  orgt.  to  Duke  of  Parma;  re- 
nowned as  player;  compositions 
(toccatas,  etc.)  of  importance  as 
showing  change  to  newer  style  which 
culminated  in  Frescobaldi. 

Merz,  Karl,  teacher,  b.  Bensheim,  near 
Frankfort,  Sept.  10,  1836;  d.  Woos- 
ter,  O.,  Jan.  30,  1890.  Studied  with 
father  and  Kunkel;  came  to  U.  S. 
1854;  taught  in  Lancaster,  Pa., 
Oxford  and  Wooster,  O.;  1873  editor 
of  Cleveland  Musical  World;  col- 
lected essays,  Music  and  Culture, 
show  thoughtful  analysis. 

Messager  (mes'-sa-zha),  Andre  Charles 
Prosper,  condr.,  compr.  b.  Montlu- 
con,  France,  Dec.  30,  1853.  After 
studying  at  Niedermeyer  school, 
became  pupil  of  Saint-Saens;  orgt. 
in  several  churches;  condr.  at  Ope>a 
Comique  1898;  "  artistic  director  " 
at  Covent  Garden,  London,  1901-07; 
Paris  Opera  1907;  completed  score 
of  Bernicat's  Franfois  les  bos  bleus 
and  has  composed  long  series  of 
comic  operas  (La  basoche,  Les  p'tites 
Michu,  Veronique  most  successful) 
which,  though  lacking  in  originality, 
are  able  and  pleasing.  His  wife,  nee 
Dotie  Davis,  was  pupil  of  Barnett 
and  Silas  in  London  and  of  Messager 
in  Paris;  under  pseud.  Hope  Temple, 
composed  operetta  The  Wooden 
Spoon  and  songs. 

Metastasio  (met-a-staz'-eo),  Pietro 
Antonio  Domenico  Bonaventura  [real 
name  Trapassi],  poet.  b.  Rome,  Jan. 
3,  1698;  d.  Vienna,  Apr.  12,  1782. 
Power  of  improvisation  as  child  at- 
tracted patronage  of  Gravina,  who 
educated  him  and  changed  his  name; 
court  poet  at  Vienna  after  1730; 
librettos  so  much  in  demand  that 
some  were  set  by  30  different  comprs. ; 
used  by  Gluck,  Handel,  Mozart  (La 
clemenza  di  Tito)  and  others;  also 
composed  and  sang. 

Methfessel  (met'-fessel),  Albert  Gottlieb, 
compr.  b.  Stadtilm,  Thuringia,  Oct. 
6,  1785;  d.  Heckenbeck,  near  Gan- 
dersheim,  Mar.  23,  1869.  Chamber 


M£TRA 


MIKULI 


musician  at  Rudolstadt;  court  cap- 
ellmeister  Brunswick  1832^2  when 
he  retired;  composed  an  opera  and 
an  oratorio;  published  in  Liederbuch 
and  Liederkranz  many  songs  for 
male  chorus  which  are  still  popu- 
lar. Brother  Friedrich  M.,  compr. 
(1771-1807);  relative  Ernst  M.,  condr. 
(1802-1878)  must  not  be  confused 
with  condr.  of  same  name  at  Winter- 
thur  (1811-1886). 

Metra  (ma-tra),  Jules  Louis  Olivier, 
condr.,  compr.  b.  Rheims,  June  2, 
1830;  d.  Paris,  Oct.  22,  1889.  Son 
of  actor  and  actor  himself;  pupil  of 
Roche;  vlt.,  'cellist,  double-bass 
player  in  Parisian  theatres;  after 
short  time  as  pupil  of  Elwart  and 
A.  Thomas  at  Paris  Cons.,  conducted 
orch.  at  several  theatres  and  balls  at 
Ope"ra  Com.,  Folies-Bergeres  and 
Ope"ra;  composed  operettas,  ballets, 
and  very  popular  waltzes  (Le  tour 
du  monde,  La  bague,  etc.). 

Meyer  (ml'-er),  Leopold  von  [sometimes 
de],  pst.  b.  Baden,  near  Vienna, 
Dec.  20,  1816;  d.  Dresden,  Mar.  5, 
1883.  Pupil  of  Fischhof  and  Field; 
debut  1835;  long  tours  through 
Europe  and  America;  played  chiefly 
his  own  brilliant  but  empty  com- 
positions; of  great  ability  but  much 
given  to  extravagant  posing;  famous 
waltz  Souvenir  de  Vienne. 

Meyer-Helmund  (mi'-er-hel'-munt), 
Erik,  compr.  b.  St.  Petersburg,  Apr. 
25,  1861.  Pupil  of  father,  Kiel,  and 
Stockhausen;  successful  concert 
singer;  compr.  of  charming  songs, 
some  to  own  words,  of  3  operas,  and 
a  ballet;  lives  in  Berlin. 

Meyer-Olbersleben  (mi'-er-ol'-bers-la- 
ben),  Max,  compr.  b.  Olbersleben, 
near  Weimar,  Apr.  5,  1850.  Pupil  of 
father,  Miiller-Hartung,  Liszt,  Cor- 
nelius, Rheinberger,  and  Wiillner; 
taught  at  Weimar  1876,  Wiirzburg 
1877,  where  he  conducted  Liedertafel ; 
director  1896  of  Deutscher  Sanger- 
bund;  dir.  Cons.  Wiirzburg;  compr. 
of  2  operas,  but  chiefly  of  choruses 
and  songs  with  pf.  or  orch.  accomp. 

Meyerbeer  (ma'-yar-bar),  Giacomo  [real 
name  Jakob  Liebmann  Beer],  com- 
pr. b.  Berlin,  Sept.  5,  1791;  d. 
Paris,  May  2,  1864.  Of  Jewish 
descent;  name  changed  to  Meyer- 
beer as  condition  of  inheritance; 


pupil  on  pf.  of  Lauska  and  Clementi, 
in  theory  of  Zelter,  Bernh.  Weber, 
and  1810-12  of  Abt  Vogler  at  Darm- 
stadt; in  Vienna,  after  hearing  Hum- 
mel play,  he  spent  several  months 
in  retired  practise,  after  which  his 
debut  was  successful;  discouraged  by 
failure  of  early  operas,  went  to  Venice 
to  study,  where  he  won  earliest 
successes  by  imitations  of  Rossini 
(Emma  di  Resburgo,  etc.);  II  cro- 
ciato  in  Egitto  is  transitional;  1824- 
31  he  produced  no  opera;  after  long 
study  of  French  opera  and  assimila- 
tion of  contemporary  spirit,  pro- 
duced Robert  le  Diable  1831  (great 
success  and  great  financial  aid  to 
Opera) ;  then  followed  Les  Huguenots 
1836  (probably  the  greatest),  Le 
prophete  1849,  L'Etoile  du  Nord  1854, 
Dinorah  1859,  and  L'  Africaine  1865; 
after  1842  he  was  music  director  in 
Berlin,  where  he  conducted  his  own 
works,  brought  out  Weber's  Eury- 
anthe  and  Wagner's  Rienzi  and  Der 
fliegende  Hollander.  M's  operas  are 
extraordinarily  skilful  in  orchestral 
color  and  dramatic  effectiveness 
much  of  which  is  due  to  the  brilliant 
librettos  of  Scribe;  his  music  is  not 
always  of  even  (juality  or  interest; 
his  style  adapts  itself  so  remarkably 
to  each  change  of  subject  that  there 
is  almost  a  total  lack  of  the  feeling 
of  individuality;  one  feels  with 
Meyerbeer,  as  with  Scribe,  a  pref- 
erence for  dramatic  effect,  for 
"  juggling  with  contrasts  "  rather 
than  for  artistic  truth. 

Middelschulte,  Wilhelm,  orgt.,  compr. 
b.  April  3,  1863,  at  Werwe,  West- 
phalia. Pupil  at  the  Inst.  for 
Church  Music  in  Berlin  of  Haupt, 
Loeschhorn,  Commer  andSchroeder; 
orgt.  Berlin  1888,  Chicago  1891; 
since  1894  orgt.  for  Thomas  Orches- 
tra with  important  church  positions; 
compr.  of  valuable  org.  music,  Canon 
and  Fugue  in  D  min.,  concerto  for 
brg.  and  orch.  on  a  theme  of  J.  S. 
Bach,  Canon-Fantaisie  on  Bach 
and  Fugue  on  four  Bach  themes,  and 
Toccata  on  Einfeste  Burg. 

Mikuli  (mi-kop'-li),  Carl,  pst.,  compr. 
b.  Czernowitz,  Bohemia,  Oct.  20, 
1821;  d.  Lemberg,  May  21,  1897. 
Student  of  medicine  at  Vienna,  of 
music  with  Chopin  and  Reicha  at 
Paris;  after  successful  tour  in  Russia, 


MILANOLLO 


MOIK 


became  director  of  Lemberg  Cons. 
1858;  founded  own  music  school 
1888;  edited  Chopin's  works  with 
emendations  received  directly  from 
C.;  own  pf.  compositions  imitate 
C's  style;  published  also  French  and 
Polish  folk-songs,  etc. 

Milanollo,  Maria,  vlt.  b.  Savigliano, 
near  Turin,  July  19,  1832;  d.  Paris, 
Oct.  21,  1848.  From  1838  to  her 
death  played  in  concerts  with  her 
sister  Domenica  Maria  Teresa,  vlt. 
b.  Savigliano,  Aug.  28,  1827;  d. 
Paris,  Oct.  25,  1904.  Teresa  had 
lessons  from  Caldera  and  Mora  at 
Turin,  and  some  in  the  course  of 
various  tours  from  De  B£riot  and, 
under  a  pseudonym,  from  Habeneck; 
both  sisters  had  brilliant  success  in 
concerts  in  France,  Germany,  Hol- 
land, and  England;  T.  retired  after 
marriage  to  Parmentier,  1857,  to 
Toulouse  and  1878  to  Paris. 

Mililotti,  Leopoldo,  singing  teacher,  b. 
Ravenna,  Aug.  6,  1835.  Studied 
and  taught  in  Rome;  composed,  with 
brother  Giuseppe  (1833-83),  2  oper- 
ettas. 

Millard,  Harrison,  compr.  b.  Boston, 
Mass.,  Nov.  27,  1830;  d.  Sept.  10, 
1895.  Member  of  church  choir  and 
Handel  and  Haydn  Soc.  chorus;  after 
study  in  Italy,  sang  tenor  on  tour 
through  Great  Britain  with  Cather- 
ine Hayes;  taught  singing,  composed 
in  N.  Y.  after  1856;  composed  opera 
(never  performed),  mass,  church 
music,  and  over  350  songs. 

Millocker  (mil'-le'k-er),  Karl,  compr. 
b.  Vienna,  May  29,  1842;  d.  Baden, 
near  Vienna,  Dec.  29,  1899.  Pupil 
at  Vienna  Cons.;  capellmeister  at 
Graz,  at  Harmonie  Th.,  Vienna, 
and,  after  1869,  at  Th.  an  der  Wien; 
composed  pf.  pieces,  published 
monthly  in  Musikalische  Presse,  and 
long  series  of  lively,  deservedly  pop- 
ular operettas,  of  which  Der  Bettel- 
student  attained  widest  notice. 

Mills,  Robert  Watkin,  baritone,  b. 
Painswick,  Gloucestershire,  Mar.  4, 
1856.  Studied  at  Royal  Acad.  with 
Holland,  at  Milan  with  Blasco,  and 
in  London  again  with  Barnby,  Ran- 
degger,  and  Blume;  d£but  1884; 
favorite  at  oratorios,  festivals,  and 
concerts;  has  sung  in  Australasia, 
Canada,  and  U.  S.  since  1894. 


Mills,  Sebastian  Bach,  pst.  b.  Ciren- 
cester,  England,  Mar.  13,  1838;  d. 
Wiesbaden,  Dec.  21,  1898.  Pupil  of 
father,  Potter,  and  Sterndale  Ben- 
nett, of  Moscheles,  etc.,  at  Leipzig 
Cons,  of  Liszt;  while  orgt.  at  Ro- 
man Catholic  Cath.  at  Sheffield, 
appeared  as  pst.  in  Leipzig;  1859 
d6but  in  New  York  was  so  successful 
that  he  made  his  home  there;  great 
influence,  by  teaching  and  playing, 
on  musical  interest  in  N.  Y.;  com- 
posed graceful  works  for  pf . 

Missa,  Edmond  Jean  Louis,  compr.  b. 
Rheims,  June  12,  1861.  Studied  at 
Paris  Cons,  with  Massenet;  Prix  de 
Rome  1883;  teacher  and  compr.  in 
Paris;  composed  since  1886  series  of 
operas  performed  in  Brussels  and 
Paris,  Juge  et  partie,  Ninon  de  Len- 
clos,  Muguette,  etc. 

Mocquereau  (mok-kd-ro),  Dom  Andre, 
editor,  b.  La  Tessouale,  near  Cholet, 
France,  June  6,  1849.  Educated  at 
Paris;  'cello  player  under  Dancla; 
member  of  order  of  Benedictines  at 
Solesmes  1875;  teacher  of  choral 
singing  there;  under  Dom  Pothier 
studied  Gregorian  music;  1889 
founded  Paleographie  musicale,  pub- 
lication under  his  editorship  of 
facsimiles  of  old  Mss.,  with  trans- 
cription into  modern  notation  and 
valuable  essays,  some  of  which  have 
been  reprinted  separately;  6  parts 
have  appeared. 

Moffat,  Alfred  Edward,  compr.  b. 
Edinburgh,  Dec.  4,  1866.  Studied 
with  Bussler  in  Berlin;  lives  in  Eng- 
land and  Germany;  composed  sev- 
eral cantatas,  school  songs;  published 
collections  of  folk-songs,  English 
and  Scotch;  arranged  classical  works. 

Mohr  (mor),  Hermann,  compr.  b. 
Nienstedt,  Oct.  9,  1830;  d.  Phila- 
delphia, May  26,  1896.  Studied  at 
Eisleben;  founded  Luisenstadt  Cons, 
at  Berlin;  taught  in  Phila.  at  Zeck- 
wer's  Cons,  after  1886;  composed 
cantatas,  pf.  pieces,  and  especially 
choruses  for  men's  voices. 

Moir,  Frank  Lewis,  compr.  b.  Market 
Harborough,  England,  Apr.  22,  1852; 
d.  Deal,  July  14,  1904.  Studied 
painting  at  S.  Kensington;  won 
scholarship  in  Nat'l  Training  Sch.  of 
Music;  composed  opera,  church 
services,  and  many  songs. 


MOLIQUE 

Molique  (mo-lek),  Wilhelm  Bemhard, 
vlt.,  compr.  b.  Nuremberg,  Oct.  7, 
1802;  d.  Kannstatt,  May  10,  1869. 
Pupil  of  father,  of  Spohr  (for  a  few 
lessons),  of  Rovelli  at  Munich;  mem- 
ber of  th.  orch.  at  Vienna,  leader  royal 
orch.  at  Munich  1820,  at  Stuttgart 
1826-49;  after  that  in  London  until 
retirement  1866;  serious  and  re- 
strained player,  compr.  chiefly  for  vln. 
of  some  uninteresting  works  and  of 
really  distinguished  and  valued  con- 
certos. 

Mollenhauer  (mol'-len-how'-er),  Emil, 
vlt.,  condr.  b.  Brooklyn,  Aug.  4, 
1855.  Son  of  Friedrich,  vlt.;  at  9 
appeared  at  Niblo's  Garden,  N.  Y.; 
member  of  orchestras  at  Booth's  Th., 
Thomas's,  Damrosch's,  Bijou  Th. 
(Boston),  Boston  Symph.  1884-88; 
condr.  of  Germania  and  Boston 
Festival  Orch.  (which  gave  concerts 
throughout  U.  S.  with  distinguished 
soloists),  of  Apollo  Club  after  1901, 
of  Handel  and  Haydn  Soc.  after  1899. 

Molloy,  James  Lyman,  compr.  b.  Corno- 
lore,  Ireland,  1837;  d.  1910.  Member 
of  English  bar;  amateur  musician; 
compr.  of  songs  (Love's  Old  Sweet 
Song,  etc.),  editor  of  Irish  melodies. 

Mondonville  (mon-don-vel'),  Jean 
Joseph  Cassanea  de,  vlt.,  compr.  b. 
Narbonne,  Dec.  25,  1711;  d.  Belle- 
ville, near  Paris,  Oct.  8,  1772.  Added 
wife's  name,  de  M.,  to  his,  Cassanea; 
successful  vlt.  at  Lille  and  at  Con- 
certs spirituels  in  Paris;  1744  in- 
tendant  of  la  chapelle  du  roi  at  Ver- 
sailles; director  of  Concerts  spirituels 
1755-62;  composed  motets  and  operas 
which  were  successful  only  because 
they  were  supported  by  French  party 
in  the  Guerre  des  bouffons.  . 

Moniuszko,  Stanislaus,  compr.  b.  Ubil, 
Russia,  May  5,  1820;  d.  Warsaw, 
June  4,  1872.  Pupil  of  Freyer 
in  Warsaw  and  Rungenhagen  in 
Vienna;  teacher  and  orgt.  in  Wilna; 
capellmeister  1858  and  later  prof,  at 
Cons,  in  Warsaw;  published  many 
songs,  church  and  organ  music,  and 
15  operas  in  national  style  of  Poland. 

Monk,  Edwin  George,  orgt.,  compr.  b 
Frome,  Somersetshire,  Dec.  13, 1819; 
d.  Radley,  near  Oxford,  Jan.  3,  1900. 
Pupil  of  father,  of  H.  and  G.  Field; 
after  org.  appointments  in  England 
and  Ireland,  studied  with  G.  A. 


MONTE 

Macfarren;  precentor  and  music- 
master  at  Radley;  Mus.  Doc.  Oxford 
1856;  orgt.  at  York  Cathedral  1859- 
83;  published  anthems,  etc.,  and 
edited  several  volumes  of  chants 
pointed,  for  Anglican  service. 

Monk,  William  Henry,  orgt.  b.  Lon- 
don, Mar.  16,  1823;  d.  Stoke  New- 
ington,  London,  Mar.  18,  1889. 
Pupil  of  Adams,  Hamilton,  and 
Griesbach;  orgt.  in  London;  choir- 
master, orgt.  1849,  and  teacher  of 
vocal  music  1874  at  King's  Coll., 
London;  prof,  at  School  for  Indigent 
Blind  1851,  in  National  Training 
Coll.  1876;  in  Bedford  Coll.,  London, 
1878;  mus.  editor  of  Parish  Choir 
of  Hymns  Ancient  and  Modern, 
Scottish  Hymnal,  etc. 

Monsigny  (mon-se-ni),  Pierre  Alex- 
andre,  compr.  b.  Fauquembergue, 
near  St.  Omer,  Oct.  17,  1729;  d. 
Paris,  Jan.  14,  1817.  Abandoned 
early  studies  to  become  clerk  and 
maltre  d'hotel  to  Duke  of  Orleans; 
1754,  inspired  by  performance  of  La 
serva  padrona,  began  lessons  in  har- 
mony with  Gianotti  and  in  five 
months  produced  successful  Les 
aveux  indiscrets;  operas  (notably 
Aline,  Le  deserteur,  Felix)  ended  in 
1777;  government  positions  lost  in 
Revolution,  but  pensioned  by  Ope>a 
Com.;  inspector  at  Cons.  1795-1802; 
member  of  Academy  1813;  works 
charmingly  melodious,  without  re- 
markable skill. 

Montagnana  (mon-tan-ya'-na),  Dom- 
enico,  vln.-maker.  b.  about  1700;  d. 
Venice  (?),  1740.  Probably  pupil  of 
Stradivari,  with  whom  he  worked 
and  whose  vlns.  his  resemble  in  a 
general  way,  without  being  copies; 
especially  remarkable  varnish;  also 
made  violas;  all  his  instruments  val- 
uable. 

Monte  (mon'-te),  Philippe  de  [or  de 
Mons],  compr.  b.  Mons  or  Malines, 
about  1521;  d.  Vienna  (?),  July  4, 
1603.  At  Antwerp  1557  about  at 
end  of  Lassus'  residence  there;  capell- 
meister to  Maximilian  II  and  Rudolf 
II  at  Vienna  and  Prague;  treas.  and 
canon  at  Cambrai,  but  apparently 
did  not  live  there;  published  30  books 
of  madrigals,  2  of  masses,  and  7  of 
motets,  a  few  of  which  have  been 
reprinted. 


MONTEVERDE 


MORLEY 


Monteverde  [or  Monteverdi],  Claudio 
Giovanni  Antonio,  compr.  b.  Cre- 
mona (baptized  May  15),  1567;  d. 
Venice,  Nov.  29,  1643.  Viola  player 
in  orch.  of  Duke  Gonzaga  at  Mantua 
and  pupil  in  counterpoint  of  Ingeg- 
neri,  maestro  to  the  duke;  early 
works,  canzonets  and  madrigals, 
show  impatience  of  conventional 
restraint  and  desire  for  new  progres- 
sions; 1603  became  maestro  to  duke; 
1607  produced  first  opera,  Orfeo; 
1613  maestro  at  St.  Mark's,  Venice; 
after  1637,  when  first  opera  house 
opened  in  Venice,  M.  composed 
many  successful  operas;  almost  none 
of  his  works  are  extant;  remarkable 
as  compr.  who,  by  novel  progressions 
in  his  madrigals,  etc.,  established 
modern  music  despite  opposition  of 
adherents  of  older  polyphonic  school, 
the  principles  of  which,  as  illustrated 
in  older  church  music,  suffered 
unduly  from  his  success;  in  dramatic 
music  his  innovations  were  enlarg- 
ing orc"h.,  inventing  new  combina- 
tions, using  tremolo  of  strings,  mak- 
ing freer  and  more  dramatic  recita- 
tive. 

Moody,  Charles  Henry,  orgt.  b.  Stour- 
bridge,  Worcestershire,  Mar.  22, 
1874.  Pupil  of  T.  W.  Morgan;  orgt. 
at  Tenbury,  Wells,  Wigan,  Coventry, 
and  since  1902  at  Ripon  Cath.;  condr. 
of  choral  soc.  and  festival  choirs  at 
Wigan,  Coventry,  Ripon;  lecturer 
on  mus. ;  published  Festival  Magnifi- 
cat, Mus.  and  Emotion,  Evolution  of 
Ecclesiastical  Mus.,  Choir  Boy  in  the 
Making  and,  under  pseud.  Coulthart 
Brayton,  songs. 

Moody,  Fanny,  soprano,  b.  Redruth, 
Nov.  23,  1866.  Pupil  of  Mme. 
Sainton- Dolby;  de"but  with  Carl 
Rosa  Co.  1887;  after  1894  sang  in 
Italian  opera  at  Covent  Garden  and 
Drury  Lane;  gave  costume  recitals; 
successful  in  concerts  in  England 
and  provinces;  married  Southcote 
Mansergh,  bass,  whose  stage  name 
is  Charles  Manners;  they  have  given 
many  concerts  together,  and  opera 
presentations  in  English. 

Moore,  Graham  Ponsonby,  pst.,  writer, 
b.  Ballarat,  Australia,  Apr.  14.  1859. 
Pupil  of  Kullak  at  Berlin  Cons,  and 
of  Scharwenka  and  Moszkowski; 
prof,  at  Royal  Coll.  Mus.,  London, 


and  examiner  for  R.  A.  M.;  compr. 
chiefly  for  pf.  (Concertstucke,  studies, 
nocturnes,  archaic  dances,  etc.). 

Morales  (mo-ra'-le'th),  Cristofero  [Cris- 
tobal], compr.  b.  Seville,  Jan.  2, 
1512;  d.  Malaga,  June  14,  1553. 
Member  of  Papal  Chapel  1535-40; 
maestro  di  cappella,  Toledo,  1544^15, 
singer  at  Malaga  Cath.  1551;  prob- 
ably returned  to  Seville  1552;  com- 
posed 16  masses,  several  motets  and 
magnificats,  some  of  which  are  sung 
annually  in  Papal  Chapel. 

Morgan,  George  Washbourne,  orgt.  b. 
Gloucester,  England,  Apr.  9,  1823; 
d.  Tacoma,  Wash.,  July,  1892. 
Pupil  of  J.  Amott;  orgt.  in  several 
churches  in  England,  and  after  1854 
in  New  York;  gave  concerts  on  Bos- 
ton Music  Hall  organ. 

Morgan,  John  Paul,  orgt.  b.  Oberlin, 
O.,  Feb.  13,  1841;  d.  Oakland,  Cal., 
Jan.,  1879.  For  many  years  in  New 
York  as  orgt.  and  compr.,  chiefly  of 
org.  and  church  music;  translated 
Richter's  Manual  of  Harmony;  his 
wife  made  English  versions  of  words 
to  many  songs  and  cantatas. 

Morhange,  see  Alkan. 

Morlacchi  (mor-lak'-ki),  Francesco, 
compr.  b.  Perugia,  June  14, 1784; 
d.  Innsbruck,  Oct.  28, 1841.  Studied 
with  Mazzetti,  Caruso,  Zingarelli, 
and  Martini;  after  writing  church 
music,  he  turned  to  opera,  1803,  with 
such  success  that  in  1810  he  became 
capellmeister  of  Italian  opera  at 
Dresden;  wrote  more  operas,  masses, 
and  oratorios;  one  of  those  who  are 
said  to  have  combined  Italian  and 
German  qualities. 

Morley,  Charles,  see  Behr,  F. 

Morley,  Thomas,  compr.  b.  London, 
1557  or  1558;  d.  there,  about  1602. 
Pupil  of  W.  Byrd;  Mus.  Bac.  Oxford 
1588;  orgt.  at  St.  Giles's  and  at  St. 
Paul's;  gentleman  of  Chapel  Royal 
1592;  license  to  print  granted  1598; 
composed  canzonets  or  short  "ayres" 
for  3  or  4  voices,  madrigals,  harpsi- 
chord pieces  in  Fitzwilham  Virginal 
Book,  settings  of  some  Shakespeare 
songs,  etc.;  wrote  first  treatise  on 
music  published  in  England,  A  plaine 
and  easie  introduction,  and  a  book  of 
Consort  lessons;  highly  praised  by 


MORNINGTON 


MOUSSORGSKY 


contemporaries  and  valued  now  for 
melodiousness  and  cheerfulness  of 
music. 

Mornington,  Garret  Colley  Wellesley, 
Earl  of,  compr.  b.  Dangan,  Ireland, 
July  19,  1735;  d.  Kensington,  Lon- 
don, May  22,  1781.  Practically  self- 
taught;  founded  Academy  of  Music, 
Dublin,  1757;  prof,  of  music  at  Dublin 
Univ.  1764-74;  created  Earl  of  M. 
1760;  won  Catch  Club  prizes  1776, 
'77,  and  for  glee  Here  in  cool  grot  in 
'79;  Bishop  edited  collection  of  his 
glees;  father  of  great  Duke  of  Well- 
ington. 

Morse,  Charles  Henry,  orgt.,  teacher, 
b.  Bradford,  Mass.,  Jan.  5,  1853. 
Pupil  at  N.  E.  Cons,  of  J.  C.  D. 
Parker,  Emery,  and  G.  E.  Whiting, 
at  Bost.  Univ.  Coll.  of  Music  under 
Parker,  Paine,  etc.,  and  privately 
with  Baermann  and  Perabo;  teacher 
at  N.  E.  Cons.  1873-78;  director  at 
Wellesley  Coll.  1875-84;  founder 
and  director  1885791  of  North- 
western Cons,  at  Minneapolis;  then 
orgt.  and  director  at  Plymouth 
Church,  Brooklyn;  musical  director 
Dartmouth  Coll.  1901;  organized 
and  directed  several  societies,  among 
them  Am.  Guild  Orgts. 

Moscheles  (mo'-shel-es),  Ignaz,  pst., 
teacher,  b.  Prague,  May  30,  1794; 
d.  Leipzig,  Mar.  10,  1870.  Son  of 
Jewish  merchant;  pupil  of  D.  Weber 
at  Prague  Cons,  (played  own  con- 
certo in  public  at  14),  of  Albrechts- 
berger  and  Salieri  at  Vienna;  pre- 
pared pf.  score  of  Fidelia  under 
Beethoven's  direction;  as  pst.  ri- 
valled Meyerbeer  and  Hummel;  in 
course  of  successful  tours  gave 
lessons  to  Mendelssohn  at  Berlin; 
1821-46  lived  in  London,  teaching, 
playing,  conducting  Philharmonic 
Soc.;  1846  joined  friend  Mendels- 
sohn as  pf.  teacher  in  Leipzig  Cons., 
where  he  long  continued  to  teach 
many  pupils  who  later  became  dis- 
tinguished; playing  was  energetic, 
brilliant,  and  rhythmical;  though 
his  methods  of  tone  production  by 
touch  were  those  afterward  devel- 
oped by  Liszt.  M.  disapproved  of 
music  of  Liszt,  Chopin,  and  other 
more  modern  writers;  improvisa- 
tion said  to  have  been  remarkable, 
and  compositions  uneven  in  value, 
though  always  well  written;  those 


most  likely  to  endure  are  concertos, 
24  Etudes  and  Charakteristische 
Studien;  published  letters  and  auto- 
biog.,  Aus  Moscheles  Leben. 

Mosenthal  (mo'-sen-tal) ,  Joseph,  vlt.. 
condr.  b.  Kassel,  Nov.  30,  1834; 
d.  New  York,  Jan.  6,  1896.  Pupil 
of  father  and  Spohr;  member  of 
Spohr's  orch.;  came  to  U.  S.  1853; 
orgt.  and  choirmaster  Calvary 
Church,  N.  Y.  1860-87;  condr.  Men- 
delssohn Glee  Club  after  1867;  one 
of  1st  vlns.  in  Philharmonic  Orch.; 
2d  vln.  in  Mason-Thomas  quartet; 
published  hymns  and  songs. 

Moszkowski  (mos-kof'-ski),  Moritz, 
pst.,  compr.  b.  Breslau,  Aug.  23, 
1854.  Son  of  Polish  gentleman; 
pupil  at  Dresden  Cons,  and  those 
of  Stern  and  Kullak  in  Berlin; 
taught  at  the  latter;  1873  gave  first 
concert  in  Berlin;  thereafter  played 
in  Warsaw,  Berlin,  and  Paris,  where 
he  settled  1897;  member  Berlin 
Acad.  1899;  without  deep  originality, 
composes  refined  and  charming 
music,  From  Foreign  Parts,  Op.  23, 
and  Spanish  Dances  for  pf.,  4  hands, 
pf.  concerto,  symphony  Jeanne  d' 
Arc,  Phantastischer  Zug  for  orch., 
and  opera  Boabdil. 

Mottl,  Felix,  condr.  b.  Unter-St.  Veit, 
near  Vienna,  Aug.  24,  1856.  As 
boy  soprano  sang  at  Lowenburgische 
Convict,  preparatory  school  for  im- 
perial chapel;  at  Vienna  Cons,  under 
Hellmesberger,  Dessoff,  Bruckner, 
etc.,  gained  highest  honors;  condr. 
of  Richard  Wagner  Verein  in  Vienna, 
and  at  Bayreuth  Festival  1876; 
condr.  at  Carlsruhe  Opera  1880-1903, 
also  of  Philharmonic  concerts  there; 
as  traveling  conductor  in  London 
and  in  New  York  (for  season  1903-04, 
including  first  performances  there 
of  Parsifal)  won  great  renown ;  condr. 
Munich  1904-08;  composed  3  operas, 
song  cycle,  edited  works  of  Berlioz, 
Cornelius,  and  Liszt. 

Moussorgsky  (mo-sorg'-ski),  Modest 
Petrovitch,  compr.  b.  Karev,  prov. 
Pskov,  Russia,  Mar.  28,  1839;  d.  St. 
Petersburg,  Mar.  28,  1881.  Of  musi- 
cal parents,  pupil  of  Herke  [Gerke] 
while  at  military  school;  entered 
regiment  at  17;  acquaintance  with 
Balakirev  and  member  of  his  school 
led  to  experiments  in  composition; 


MOUTON 


MOZART 


resigned  from  regiment  at  22  and 
thereafter  had  long  struggle  with 
poverty  and  bad  habits;  lived  in  St. 
Petersburg  1870-81;  nat'l  opera 
Boris  Godounov  has  held  stage;  other 
operatic  works  and  many  songs  give 
evidence  of  sincere  endeavor  to  ex- 
press humanitarian  views  in  realistic 
music;  much  work  posthumously 
edited  by  Rimsky-Korsakov. 

Mouton  (mo-ton),  Jean  de  [properly 
Jean  de  Hollinque],  compr.  b.  Hoi- 
ling  (?),  near  Metz,  about  1475;  d.  St. 
Quentin,  Oct.  30,  1522.  Pupil  of 
Josquin;  singer  in  chapels  of  Louis 
XII  and  Francis  I;  canon  at  Th6rou- 
anne  and  St.  Quentin;  teacher  of 
Willaert;  composed  masses  and 
motets,  highly  valued  by  contempo- 
raries. 

Mozart  (mot'-sart),  Johann  Georg 
Leopold,  compr.  b.  Augsburg,  Nov. 
14,  1719;  d.  Salzburg,  May  28,  1787. 
Choir  boy  at  Augsburg  and  Salzburg; 
gave  lessons  to  support  himself  while 
studying  law;  vlt.  in  Bishop's  orch. 
1743,  court  compr.  1762;  composed 
12  oratorios,  symphonies,  serenades, 
etc.;  married  Anna  Maria  Pertlin; 
two  children  who  grew  up  were 
daughter,  Maria  Anna  called  Nan- 
nerl  (1751-1829),  and  son. 

Mozart,  Johannes  Chrysostom  Wolf- 
gang Amadeus,  compr.  b.  Salzburg, 
Jan.  27,  1756;  d.  Vienna,  Dec.  5, 
1791.  The  last  of  his  Christian 
names  is  his  own  substitution  for 
Theophilus  and  Gottlieb.  Very 
many  details  of  his  career  as  a  won- 
der child  are  known;  when  he  was 
six  and  his  sister  eleven,  their  father 
exhibited  them  at  Munich  and 
Vienna  (where  they  played  to  Maria 
Antoinette)  and  later  at  many  Euro- 
pean courts,  reaching  Paris  1763, 
where  they  played  before  Mme.  de 
Pompadour  and  where  M's  first 
compositions  were  printed;  in  London 
played  with  J.  C.  Bach,  and  after 
three  years'  absence,  during  which 
both  children  were  seriously  ill,  re- 
turned to  Salzburg,  1766.  Going  to 
Vienna,  after  an  attack  of  smallpox 
at  Olmiitz,  M.  played  before  Em- 
peror Joseph  II,  wrote  first  operas, 
La  finta  semplice,  and  Bastien  und 
Bastienne;  conducted,  for  the  first 
time,  his  solemn  mass;  1769-71,  on 
journey  to  Italy,  where  M.  received 


many  honors,  and  composed  some 
operas,  for  the  production  of  which 
he  visited  Milan  in  1771  and  1772; 
as  concertmaster  to  Bishop  of  Salz- 
burg, M.  wrote  several  operas,  con- 
certos, etc.,  without  adequate  return; 
resigned  to  go  on  fruitless  journey 
to  Paris  with  his  mother,  who  died 
there,  1778;  resumed  position  at 
Salzburg  and  became  court  orgt., 
but  finally  went  to  Vienna,  where, 
1789,  he  became  imperial  compr.; 
married  Constance  Weber  1781; 
composed  Le  nozze  di  Figaro,  1785, 
which  was  almost  a  failure  because 
of  the  intentionally  poor  singing  of 
the  Italian  company;  both  Figaro 
and  Don  Giovanni,  1787,  were  suc- 
cessful at  Prague;  on  journey  to 
Germany,  1789,  played  org.  at 
Thomaskirche,  Leipzig,  and  at  Pots- 
dam before  Fr.  Wilhelm  II,  whose 
offer  of  position  of  capellmeister 
M.  refused  from  motives  of  patriot- 
ism. Composed  Cosi  fan  tutte  1790 
and  Die  Zauberflote  1791  for  Vienna, 
La  clemenza  di  Tito  for  Prague  1791; 
his  last  work  is  said  to  be  the  Re- 
quiem, of  which  authorship  is  con- 
tested; he  died  of  malignant  fever 
and  was  buried  cheaply  in  the  com- 
mon lot,  his  few  friends  having 
failed  to  accompany  his  body  to  the 
grave  because  of  storm.  In  Jahn's 
authoritative  biography  many  details 
of  his  personality  are  given,  his 
gaiety,  his  fondness  for  dancing  and 
billiards,  his  habits  of  working  at 
night,  his  generosity,  and  his  im- 
providence. As  a  compr.  he  was 
extraordinarily  fluent;  he  often 
thought  his  works  out  beforehand, 
but  often  seemed  to  pour  them  out 
spontaneously;  once  written,  they 
were  seldom  altered.  His  chief 
works  are  his  operas,  of  which  he  com- 
posed 20;  he  also  wrote  for  voices 
15  masses  (some  others  have  been 
attributed  to  him) ,  Kyries,  Misereres, 
songs,  etc.;  for  orchestra  he  composed 
41  symphonies,  divertimenti,  sere- 
nades, marches,  concertos  for  vln., 
clarinet,  etc.,  10  quintets,  60  quar- 
tets, 25  pf.  concertos,  42  pf.  sonatas, 
and  many  smaller  pieces.  Songs  are 
very  few,  Das  Veilchen  the  one  most 
frequently  found  on  programs;  pf. 
and  chamber  music  of  style  which  is 
charming  in  its  very  melodious  sim- 
plicity; his  symphonies  mark  great 


MUCK 

advance  in  instrumental  writing;  his 
first  improvement  was  substitution 
of  more  dignified  and  refined  min- 
uets; later  he  developed  resources  of 
the  orchestra  so  that  the  whole  effect 
is  much  richer  than  in  Haydn's 
symphonies,  although  M.  never 
attained  the  depth  and  nobility  of 
Beethoven.  His  operas  were  at  first 
in  the  simple  Italian  style,  then  after 
attempting  to  imitate  the  French 
opera  as  reformed  by  Gluck,  in 
Figaro  and  Don  Giovanni  he  attained 
a  style  of  his  own  never  equalled  for 
mixture  of  dignity,  grace,  exquisitely 
comic  feeling,  and  beauty;  he  com- 
bines Italian  vivacity  with  German 
poetic  truthfulness  within  his  own 
personality. 

Muck  (mook),  Karl,  condr.  b.  Wiirz- 
burg,  Oct.  22,  1859.  Early  lessons 
from  father,  chancellor  and  amateur 
mus.;  studied  philosophy  at  Heidel- 
berg and  Leipzig,  music  at  Leipzig 
Cons,  under  Richter  and  Reinecke; 
condr.  at  Zurich  1880-81,  Salzburg 
1881-82,  Briinn  1882-84,  Graz  1884- 
86,  Prague  1886  -92,  and,  since  1892; 
court  capellmeister  at  Berlin  Royal 
opera;  conductor  of  Boston  Symph. 
Orch.  1906-08,  and  at  Bayreuth 
1901,  1902,  '04,  '06. 

Muffat,  Georg,  compr.  b.  Schlettstadt, 
about  1645;  d.  Passau,  Feb.  23, 1704. 
Sudied  Lully's  style  in  Paris;  orgt. 
Salzburg  Cath.,  then  to  Bishop  of  S., 
then  capellmeister  to  Bishop  of  Pas- 
sau; published  instrumental  sonatas, 
concertos,  some  50  dance  pieces  for  4 
and  8  vlns . ,  etc . ,  together  with  instruc- 
tions in  playing  string  instruments. 

Muller,  Carl  Christian,  compr.,  teacher. 
b.  Meiningen,  Germany,  July  3, 
1831.  Parents  cultivated  musical 
amateurs;  showed  decided  musical 
bent  at  an  early  age  and  was  given 
instruction  in  piano  playing  and 
harmony  by  members  of  the  ducal 
orchestra.  In  1854  he  came  to  New 
York  and  connected  himself  with  a 
firm  of  piano  makers,  later  joining 
the  theatre  orchestra  of  Barnum's 
Museum,  of  which  he  became  leader. 
In  1864  he  turned  his  attention  to 
teaching,  making  a  specialty  of  the 

Eiano  and  harmony;  member  of  the 
iculty  of  the  New  York  College  of 
Music;  some  of  his  pupils  have  risen 


MUSIOL 

high  in  professional  circles.  Com- 
positions include  nearly  all  forms: 
two  overtures,  an  Idyl,  a  Suite  in 
G  minor,  a  symphony  in  D  minor,  a 
Scena  for  tenor  and  orchestra,  and 
other  pieces  for  orchestra;  in  cham- 
ber music,  a  sonata  for  violin  and 
piano  and  three  string  quartets; 
pieces  for  piano  solo  and  with  other 
instruments,  three  sonatas,  preludes 
and  postludes  for  the  organ,  songs, 
quartets  and  anthems;  some  of  the 
large  works  have  been  performed  by 
the  Manuscript  Society  and  by 
Theodore  Thomas.  He  translated 
Sechter's  treatise  The  Correct  Order 
of  Fundamental  Harmonies,  a  valu- 
able work  of  reference  in  musical 
theory.  Lives  in  New  York  City 
(1910). 

Muris  (mii-ris'),  Johannes  de,  theorist. 
Disciple  of  Franco;  trained  at  Ox- 
ford; author  of  treatise  Speculum 
musicce  in  7  books,  on  theory  and 
practise  of  music;  large  claims  have 
been  made  for  him,  but  influence 
appears  to  have  been  rather  con- 
servative than  innovating. 

Murska,  lima  di,  dram,  soprano,  b. 
Croatia,  1836;  d.  Munich,  Jan.  16, 
1889.  Pupil  of  the  Marchesis  in 
Vienna;  dibut  Florence  1862;  had 
great  success  in  almost  all  capitals; 
America  1873-76;  voice  was  brilliant, 
with  range  of  nearly  3  octaves; 
taught  in  N.  Y.  for  short  time,  but 
retired  to  Munich  some  years  before 
her  death. 

Musin  (mu-zan),  Ovide,  vlt.  b.  Man- 
drin,  near  Lie>e,  Sept.  22,  1854. 
Studied  at  Li6ge  Cons,  with  Heyn- 
berg  and  Leonard,  and  with  latter  at 
Paris  Cons.,  where  he  also  taught  a 
year;  successful  tours  around  the 
world;  taught  at  Li6ge  Cons,  after 
1897,  prof,  after  1898;  teaching  in 
N. Y.  1908-10. 

Musiol,  Robert  Paul  Johann,  compr., 
writer,  b.  Breslau,  Jan.  14,  1846; 
d.  Fraustadt,  Oct.  18,  1903.  Studied 
at  Seminary  of  Liebenthal,  Silesia; 
teacher  and  cantor  at  Rohrsdorf, 
near  Fraustadt,  1873-1891;  author 
of  Catechismus  der  Musikgeschichte, 
editor  of  several  music  lexicons, 
biographies  of  Fritze,  Korner,  and 
Hugo  Briickler;  contributed  to  peri- 
odicals, etc. 


NACHBAUR 


NAUMANH 


N 


Nachbaur  (nak'-bour),  Franz,  tenor,  b. 
Schloss  Giessen,  near  Friedrichshafen, 
Mar.  25,  1835;  d.  Munich,  Mar.  21, 
1902.  Pupil  of  Pischek  while  at  Stutt- 
gart Polytechnic ;  chorister  at  Basle ; 
sang  at  LuneVille,  and,  after  study 
with  Orth  and  Lamperti,  at  Mann- 
heim, Hanover,  Prague,  Darmstadt, 
Vienna,  finally  at  Munich  1866-90; 
created  part  of  Walther  in  Die  Meis- 
tersinger;  great  repute  in  Germany. 

Nachez  (na-shez'),  Tivadar,  vlt.  b. 
Pesth,  May  1,  1859.  Studied  with 
Sabatil,  Joachim  at  Berlin,  and 
Leonard  at  Paris;  from  headquar- 
ters in  Paris  made  successful  Conti- 
nental tours;  settled  in  London 
1889,  where  he  is  popular  as  concert 
player;  composed  concertos,  Hun- 
garian rhapsodies  and  dances,  etc. 

Nadaud  (na-do),  Gustave,  compr.  b. 
Roubaix,  France,  Feb.  20,  1820;  d. 
Paris,  Apr.  28,  1893.  Distinguished 
compr.  of  chansons,  of  which  he 
published  some  15  volumes,  usually 
to  his  own  words;  also  wrote  3  op- 
erettas (Ledocteur  Vieuxtemps,  etc.). 

Nageli  (na'-gg-li),  [Johann  ?]  Hans 
Georg,  compr.,  publisher,  b.  Wetzi- 
kon,  near  Zurich,  May  16,  1773; 
d.  there,  Dec.  26,  1836.  Publisher 
at  Wetzikon  of  editions  of  Handel  and 
Bach,  and  new  works  by  dementi, 
Cramer,  and  Beethoven,  into  whose 
sonata,  Op.  31,  No.  1,  he  interpolated 
four  measures;  founder  and  president 
of  association  for  cultivation  of  music ; 
held  popular  singing  classes,  com- 
posed songs  (Lied  vom  Rhein,  Life  let 
us  cherish),  choruses,  etc. 

Nanini  (na-ne'-ni),  Giovanni  Maria, 
compr.  b.  Vallerano,  about  1540; 
d.  Rome,  Mar.  11,  1607.  Pupil  of 
Goudimel;  maestro  at  Vallerano,  and 
1571-75  at  Sta.  Maria  Maggiore  at 
Rome;  founded  music  school  where 
Palestrina  and  nephew,  Bernardino, 
taught;  member  of  choir  1577  and 
maestro  1604  at  Sistine  Chapel, 
where  a  Christmas  motet  of  his  is 
annually  sung;  composed  madrigals 
and  psalms  distinguished  even  for 
that  great  period. 


Napravnik  (na-prav'-nek),  Eduard 
Franzevich,  compr.,  condr.  b.  Bejst, 
Bohemia,  Aug.  24,  1839.  Son  of 
teacher,  early  orphaned;  studied  at 
Prague  org.  school  and  with  Kittl, 
and  at  school  for  psts.,  where  he  later 
taught;  1861  condr.  of  Prince  Yusu- 
pov's  private  orch.  at  St.  Petersburg; 
1863  orgt.  at  opera,  1867  2d  con- 
ductor, and  1869  conductor;  1869- 
81  conducted  concerts  of  Mus.  Soc.; 
carried  further  Liadov's  reforms, 
including  native  works  in  opera 
repertoire,  etc.;  compr.  of  several 
operas,  overtures,  Russian  and  Bo- 
hemian songs,  etc. 

Nardini  (nar-de'-ni) ,  Pietro,  vlt.  b. 
Fibiana,  1722;  d.  Florence,  May  7, 
1793.  Studied  at  Leghorn  and  with 
Tartini  at  Padua;  soloist  in  Stutt- 
gart court  orch.  1753-67;  lived  with 
Tartini  at  Leghorn  1767-70;  direc- 
tor of  mus.  for  Duke  of  Tuscany; 
L.  Mozart  praised  sentiment  and 
taste  of  his  playing;  composed  con- 
certos, sonatas,  solos,  duets,  quar- 
tets, and  trios,  6  of  each,  of  some 
interest  but  old-fashioned. 

Nares,  James,  orgt.,  compr.  b.  Stan- 
well,  Eng.,  April  [baptized  Apr.  19], 
1715;  d.  London,  Feb.  10,  1783. 
Chorister  in  Chapel  Royal  under 
Gates,  Croft,  and  Pepusch;  deputy 
orgt.  Windsor;  orgt.  of  York  Cath. 
1734  and  of  Chapel  Royal  1756, 
where  he  became  master  of  children 
1757;  took  prize  for  catch,  published 
harpsichord  lessons,  catches,  and 
(most  important)  20  anthems. 

Naumann  (nou'-man),  Emil,  writer,  b. 
Berlin,  Sept.  8,  1827;  d.  Dresden, 
June  23,  1888.  Studied  with  Schny- 
der  von  Wartensee,  with  Mendels- 
sohn, at  Leipzig  Cons.,  and  at  Bonn 
Univ.;  mus.  dir.  at  court  church  in 
Berlin  1856;  Ph.D.  Univ.  Berlin; 
lecturer  on  hist,  at  Dresden  Cons. 
1873;  wrote  on  opera  (against 
Wagner),  on  special  periods  of  his- 
tory, and  Die  Tonkunst  in  der  Kul- 
turgeschichte  (greatest  work,  trans- 
lated as  History  of  Mus.;  admirably 
clear  and  readable,  though  not 
always  trustworthy  in  dates,  etc.). 


NAVA 


NEUENDORFF 


Nava  (na'-va),  Gaetano,  singing  teacher. 
b.  Milan,  May  16,  1802;  d.  there, 
Mar.  31,  1875.  Son  of  guitar  player 
and  compr.;  after  college  education, 
pupil  of  Federici  at  Milan  Cons., 
where  he  taught  harmony  and  sing- 
ing after  1837;  Santley  among 
pupils;  believed  in  development  as 
opposed  to  forcing;  wrote  method, 
several  books  of  vocalises,  and 
church  music. 

Navratil  (nav'-ra'-til),  Karl,  compr.  b. 
Prague,  April  24,  1867.  Pupil  of 
Ondricek  and  Adler;  composed  in 
larger  forms,  operas,  symphony,  5 
symph.  poems,  concertos  for  pf.  and 
vln. 

Nedbal,  Oskar,  viola  player,  b.  Tabor, 
Bohemia,  Mar.  26,  1874.  Pupil  of 
Dvofdk  and  Bennewitz  at  Prague 
Cons.;  member  of  Bohemian  Quar- 
tet (with  K.  Hoffmann,  Suk,  and 
Wihan)  1891-1906;  condr.  Bohemian 
concerts  in  Vienna  and  London,  of 
Prague  Philharm.  Soc.  until  1906; 
composed  for  own  instrument. 

Neefe  (na-fg),  Christian  Gottlob,  orgt., 
compr.  b.  Chemnitz,  Feb.  5,  1748; 
d.  Dessau,  Jan.  26,  1798.  Studied 
law  at  Univ.  of  Leipzig,  but  influ- 
enced by  J.  A.  Hiller  composed 
operettas,  and  1777  became  condr.  of 
traveling  co.;  orgt.  at  Bonn  after 
1782,  where  he  was  Beethoven's 
teacher;  accomp.  and  manager  at 
Bonn  1788-94;  then  condr.  at 
Dessau;  last  years  in  great  poverty; 
wrote  and  arranged  several  operas, 
composed  church  mus.,  etc. 

Neidlinger  (md'-ling-er),  William  Har- 
old, compr.  b.  Brooklyn,  July  20, 
1863.  Pupil  of  Dudley  Buck  and 
C.  C.  Miiller;  after  some  years 
abroad  (he  taught  singing  in  Paris), 
settled  in  Chicago;  later  in  New 
York;  compr.  of  2  operas,  and  many 
admirable  songs. 

Neitzel  (nit'-zel),  Otto,  pst.,  writer,  b. 
Falkenburg,  Pomerania,  July  6, 
1852.  Studied  at  Kullak's  Acad. 
and  at  Berlin  Univ.;  concert  tour 
with  Lucca  and  Sarasate;  condr.  at 
Strassburg  1878-81 ;  taught  at  Strass- 
burg  Cons.,  Moscow  Cons.  1885,  at 
Cologne  since  1887;  lectured  in  U.S. 
1906;  critic  for  Kolnische  Zeitung, 
author  of  Fuhrer  durch  die  Oper, 
compr.  of  several  operas. 


Neri  (na'-ri),  Filippo,  compr.  b. 
Florence,  Julv  21,  1515;  d.  Rome, 
May  26,  1595.  Holy  orders  1551; 
for  his  lectures  in  oratory  of  San 
Girolamo  and  later  at  Sta.  Maria, 
Animuccia  and  Palestrina  com- 
posed Laudi  spirituali  from  which 
developed  the  "  oratorio  ";  N.  organ- 
ized seminary  1575;  canonized  1622. 

Neruda  [or  Norman  Neruda],  Wilma, 
see  Halle,  Lady. 

Nessler,  Victor  E.,  compr.  b.  Balden- 
heim,  Alsace,  Jan.  28,  1841;  d. 
Strassburg,  May  28,  1890.  While 
student  of  theology,  studied  mus. 
with  Stern  and  produced  successful 
opera  (Fleurette  1864)  .and  turned 
to  music;  after  further  study  in 
Leipzig,  was  chorusmaster  and  condr. 
at  several  theatres  there;  composed 
12  operas,  of  which  Der  Rattenfdnger 
von  Hameln  and  Der  Trompeter  von 
Sdkkingen  have  been  extremely  pop- 
ular, especially  in  Germany;  though 
he  had  certain  gift  of  popular  melody, 
never  attained  any  original  heights. 

Nesvadba  (nes-vad'-ba),  Joseph,  condr., 
compr.  b.  Vyskef,  Bohemia,  Jan.  19, 
1824;  d.  Darmstadt,  May  20,  1876. 
Student  of  philosophy  at  Prague, 
where  he  produced  opera  Blaubart; 
condr.  at  Carlsbad,  Olmiitz,  Graz, 
Prague,  Italian  opera  at  Berlin,  Ham- 
burg; after  1864  court  capellmeister 
at  Darmstadt;  compr.  of  Bohemian 
songs  and  dances. 

Negvera  (nesh-va'-ra) ,  Joseph,  compr., 
choirmaster,  b.  Proskoles,  Bohemia, 
Oct.  24,  1842.  Choir  director  at 
Prague,  Koniggratz,  and  Olmiitz 
Cath.;  compr.  of  3  operas,  sym- 
phony, septet,  much  vln.  and  pf. 
music,  and  distinguished  church  mus. 

Neuendorf!  (noi-en-dorf),  Adolf,  condr. 
b.  Hamburg,  June  13,  1843;  d. 
New  York,  Dec.  4,  1897.  Came  to 
U.  S.  1855;  pupil  of  Matzka,  Wein- 
lich,  and  Schilling;  d6but  as  pst. 
1859;  vlt.  in  N.  Y.  theatre  and  in 
Brazil;  condr.  in  Milwaukee  and 
N.  Y.,  in  Acad.  of  Mus.,  of  Phil- 
harmonic Soc.,  and  (after  period  of 
concert  direction  in  Boston,  of  con- 
ducting Juch  Opera  Co.  and  of 
living  in  Vienna)  of  Metropolitan 
Orch.;  composed  operas,  songs,  etc.; 
of  importance  because  of  early 
introduction  of  Wagner's  music  in 


NEUKOMM 


NICHOLL 


U.  S.  and  Mexico;  first  performance 
of  Lohengrin  and  Walkiire  during 
his  term  as  condr.  at  Stadt  Theatre, 
N.  Y.,  1867-71;  gave  Wagner 
Festivals  with  Th.  Thomas. 

Neukomm  (noi-kom),  Sigismund,  Ritter 
von,  compr.  b.  Salzburg,  July  10, 
1778;  d.  Paris,  Apr.  3,  1858.  Pupil 
of  Weissauer,  M.  Haydn,  and  J. 
Haydn,  who  took  great  interest 
in  him;  condr.  German  opera  at  St. 
Petersburg  1807;  later  in  Paris, 
friend  of  Cherubini,  pst.  to  Talley- 
rand; ennobled  for  Requiem  on 
Louis  XVI;  court  director  to  Dom 
Pedro  of  Brazil  1816-21;  traveled 
with  Talleyrand;  lived  alternately 
in  Paris  and  London  where  he  was 
extremely  popular  until  eclipsed  by 
Mendelssohn  in  1837;  composed 
about  1000  works,  oratorios,  masses, 
operas,  org.  and  pf.  pieces,  all  now 
forgotten. 

Neumann  (noi-man),  Angelo,  tenor. 
b.  Vienna,  Aug.  18,  1838;  d.  Prague, 
Dec.  19,  1910.  D6but  1859;  sang  at 
Cracow,  Pressburg,  and  Vienna, 
1862-76;  managed  traveling  Wag- 
ner opera  company,  and  operas  in 
Leipzig,  Bremen,  and  Prague;  set- 
tled in  Bremen;  since  1885  in 
Prague  as  director  of  Landestheatre; 
author  of  Reminiscences. 

Neupert  (noi'-pert),  Edmund,  pst., 
compr.  b.  Christiania,  Apr.  1,  1842; 
d.  New  York,  June  22,  1888.  Pupil 
at  Kullak's  Acad.;  teacher  there, 
at  Stern  Cons.,  at  Copenhagen  Cons. 
1868,  at  Moscow  Cons.  1881;  after 
1883  in  N.  Y.,  where  he  was  known 
as  excellent  teacher,  and  concert 
performer;  wrote  useful  Technical 
Studies,  Studies  in  Style,  etc. 

Nevada  [pseud,  for  Wixom],  Emma, 
dram.  sop.  b.  Alpha,  near  Nevada 
City,  Cal.,  1862.  Pupil  of  Mme. 
Marched;  d6but  London  1880; 
sang  in  prominent  Italian  cities, 
Paris  1883,  alternate  nights  with 
Patti  1885,  etc.;  married  Dr.  Palmer 
1885;  voice  light,  of  moderate  power, 
especially  effective  in  staccato  and 
chromatic  passages. 

Nevin,  Arthur  Finley,  compr.  b.  Apr. 
27,  1871,  at  Edge  worth,  Pa.  Father. 
Robert  P.,  was  prominent  locally  as 
a  musician  and  composer  of  political 


songs,  and  later  as  editor  and  pub- 
lisher of  the  Pittsburg  Times  and 
Sunday  Leader;  educated  in  the 
New  England  Conservatory  of  Music 
and  in  Berlin,  where  he  studied 
composition  with  O.  B.  Boise;  early 
works  were  the  comic  operas  The 
Economites,  referring  to  the  social- 
istic community  near  Pittsburg, 
and  The  Candy  Man,  produced  by 
amateurs;  in  1906  he  completed  his 
grand  opera  Poia,  based  on  a  legend 
of  the  Blackfeet  Indians,  among 
whom  Nevin  lived  for  two  years 
gathering  material;  this  opera  was 
first  given  in  Pittsburg,  Jan.  16, 
1907;  produced  in  Berlin,  April  15, 
1910;  other  compositions  are  Auf 
Wiedersehen,  Lorna  Doone  suite, 
From  Edgeworth  Hills. 

Nevin,  Ethelbert  Woodbridge,  pst., 
compr.  b.  Edgeworth,  Pa.,  Nov.  25, 
1862;  d.  New  Haven,  Conn.,  Feb. 
17,  1901.  After  study  in  Dresden, 
pupil  of  Lang  and  Emery  in  Boston , 
and  of  Von  Billow,  especially  of 
Klind worth,  and  Bial  at  Berlin; 
taught  in  Boston;  abroad  again 
1892  in  Paris,  Berlin,  and  Italy, 
teaching  and  composing;  had  great 
talent  for  composition  in  smaller 
forms  for  pf.  and  charming  songs; 
Narcissus  probably  his  best  known 
piece. 

Nevin,  George  Balch,  compr.  b.  Ship- 
pensburg,  Pa.,  March  15,  1859. 
Educated  at  State  Normal  School, 
and  at  Lafayette  College,  Easton, 
Pa.;  pupil  in  music  of  Julia  E. 
Crane  and  Louis  Arthur  Russell; 
filled  several  good  choir  positions 
as  baritone  soloist;  compositions  in 
all  vocal  forms;  has  been  especially 
successful  in  church  music;  some 
of  his  well-known  pieces  are  Bells  of 
Shandon,  Song  of  the  Armorer,  the 
Christmas  cantata  The  Adoration, 
and  the  Easter  cantata  The  Cruci- 
fied; Nevin  is  not  a  professional 
musician,  and  lives  at  Easton,  Pa. 

Niccolini,  see  Nicolini. 

Nicholl,  Horace  Wadham,  compr.  b. 
Tipton,  near  Birmingham,  Mar.  17, 
1848.  Pupil  of  father  and  orgt. 
S.  Prince;  orgt.  at  Dudley,  at 
Stoke-on-Trent,  at  Pittsburg,  U.  S., 
after  1870,  and  at  N.  Y.  1879; 
taught  in  Pittsburg  and  1888-95 


NICHOLS 


NIEMANN 


at  Miss  Porter's  School,  Farmington, 
Conn.,  with  Boekelmann;  editor  org. 
dept.  Freund's  Music  Trades  Review, 
contributor  to  Courier  and  other 
periodicals;  composed  symphonies, 
symph.  poems,  cycle  of  4  oratorios, 
widely-known  org.  pieces,  etc. 

Nichols,  Marie,  vlt.  b.  Chicago,  Oct.  16, 
1879.  Pupil  of  E.  Mollenhauer  in 
Boston,  of  Halir  in  Berlin,  and 
Debroux  in  Paris;  ddbut  Boston 
1899;  played  with  Bost.  Festival 
Orch.  1899-1901,  with  Berlin  Phil- 
harmonic 1903,  concerts  in  London 
and  Paris  1903,  and  with  Boston 
Symph;  Orch.  1905;  made  long 
concert  tours  of  U.  S. 

Nicode  (ni-ko'-da),  Jean  Louis,  pst., 
compr.  b.  Jerczik,  near  Posen, 
Aug.  12,  1853.  Pupil  of  father, 
Hartkas  (orgt.),  and  of  Kullak, 
Wiierst,  and  Kiel  at  Kullak's  Acad.; 
taught  in  Berlin  and  established 
Nicode"  concerts;  after  concert  tour 
through  Galicia  and  Roumania  with 
Mme.  Artot,  prof,  at  Dresden  Cons. 
1878-85;  director  Philharmonic 
Concerts  1885-88;  dir.  Dresden 
Neustadt  Chorgesangverein  after 
1893;  both  as  pst.  and  condr.  he 
is  keen  and  appeciative  interpreter; 
compositions  strong  and  sound, 
mostly  in  larger  forms,  symph. 
poems,  Das  Meer  symph.,  1888,  for 
chorus  and  orch.,  full  of  daring 
imagination,  and  Gloria,  1906,  for 
large  orch.,  chorus  of  men  and  boys, 
in  6  long  movements. 

Nicolai  (ni'-ko-li),  Otto,  compr.  b. 
Konigsberg,  June  9,  1810;  d.  Berlin, 
May  11,  1849.  Pupil  of  father  in  pf. 
playing,  and,  after  he  had  run  away 
at  16,  of  Zelter  and  Klein  in  Berlin, 
under  protection  of  Justizrath  Adler; 
while  orgt.  to  Prussian  embassy  at 
Rome,  1833,  studied  Italian  mus. 
under  Baini;  capellmeister  at  Vien- 
na Th.  1837-38,  when  he  returned 
to  Rome;  court  capellm.  Vienna 
1841-47;  founder  of  Philharmonic 
Soc.;  capellm.  Berlin  opera  and  Dom- 
chor  1847;  composed  5  operas  which 
had  great  popularity  in  Italy,  where 
N.  was  taken  for  native,  two  of  which 
were  revised  for  German  stage  (Der 
Templer  and  Die  Heimkehr  des 
Verbannten);  work  on  which  fame 
rests  is  fresh,  humorous  Die  lustigen 


Weiber  von  Windsor  (The  Merry 
Wives  of  Windsor),  brilliantly  pro- 
duced May,  1849,  which  has  had 
great  success. 

Nicolini  (nik-o-le'-ni) ,  [or  Niccolini], 
Giuseppe,  compr.  b.  Piacenza,  Jan. 
29,  1762;  d.  there,  Dec.  18,  1842. 
Studied  at  Naples  with  Insanguine; 
after  1793  brought  out  about  48 
operas;  maestro  at  Piacenza  Cath. 
1819;  and  thereafter  chiefly  devoted 
to  church  music;  comp.  40  masses, 
about  100  psalms,  etc. 

Niecks,     Frederick     [orig.    Friedrich], 

writer,  b.  Diisseldorf,  Mar.  3,  1845. 
Vln.  pupil  of  Langhans,  Griinewald, 
and  Auer;  d6but  at  12;  from  13-21 
member  of  concert  orch.  and  student 
in  private  and  at  Leipzig  Univ.; 
1868  orgt.  and  viola  player  in  quar- 
tet in  Dumfries,  Scotland;  contrib- 
utor to  Monthly  Mus.  Record  after 
1875;  became  prof.  mus.  at  Edin- 
burgh Univ.  1891;  distinguished  lect- 
urer and  writer;  author  of  Diet,  of 
Mus.  Terms,  Chopin  as  Man  and 
Musician,  Programme  Music  in  the 
Last  Four  Centuries. 

Niedermeyer  (ne'-der-mi-er),  Louis, 
compr.,  teacher,  b.  Nyon,  Switzer- 
land, Apr.  27,  1802;  d.  Paris,  Mar. 
13,  1861.  Pupil  of  Moscheles, 
Forster,  Fioravanti,  and  Zingarelli; 
intimate  with  Rossini;  taught  and 
composed  songs  in  Geneva;  in  Paris 
after  1823,  except  for  two  years  in 
Brussels;  produced  4  operas  all 
unsuccessful  (Adieu  d  la  France 
from  Maria  Stuart  is  familiar);  re- 
organized Choron's  institute  for 
church  music,  now  under  gov't 
subvention  as  Ecole  N.;  founded 
with  Ortigue  journal  La  maUrise 
and  published  Methode  d'accomp.  du 
plain  chant,  harshly  criticized;  com- 
posed church  music  of  some  value. 

Niemann  (ne'-man),  Albert,  dram, 
tenor,  b.  Erxleben,  near  Magde- 
burg, Jan.  15,  1831.  Singing  at 
Dessau  in  small  parts,  when  dis- 
covered and  taught  by  F.  Schneider 
and  Nusch,  a  baritone;  after  sing- 
ing at  Hanover,  and  further  study 
with  Duprez  in  Paris,  sang  at  Halle. 
Stuttgart,  Hanover,  and  other  towns, 
finally  at  Berlin  1866-89  when  he 
retired;  of  heroic  build  and  voice, 
selected  by  Wagner  for  Tannha'user, 


NIKISCH 


NOSKOWSKI 


Paris,  1861,  and  for  Siegmund  in 
Trilogy,  Bayreuth,  1876,  and  sang 
all  Wagner  parts  in  U.  S.  1886-88. 

Nikisch  (nik'-ish),  Arthur,  condr.  h. 
Szent  Miklos,  Hungary,  Oct.  12, 
1855.  Father  bookkeeper  to  Prince 
Lichtenstein;  very  precocious  musi- 
cal ability;  appeared  as  pst.  at  8; 
pupil  at  Vienna  Cons,  of  Dessoff, 
Schenner,  and  Hellmesberger;  prizes 
for  vln.  playing  and  sextet;  1874  vlt. 
irr  court  orch.,  1878  2d  condr.  under 
A.  Neumann  at  Leipzig  Th.  and  1882 
first  condr.,  attaining  great  distinc- 
tion; 1889-93  condr.  Boston  Symph. 
Orch. ;  director  and  condr.  Budapest 
opera  1893-95;  condr.  Leipzig  Ge- 
wandhaus  1895;  later,  visiting  condr. 
Berlin  Philh.,  Hamburg  Philh.,  and 
in  St.  Petersburg;  he  gained  much 
admiration  in  Paris  and  London  1897 
and  following  years  as  virtuoso 
condr. ;  one  of  first  to  conduct  habit- 
ually without  score. 

Nilsson,  Christine,  dram,  soprano,  b. 
Sjoabel,  near  Wexio,  Sweden,  Aug. 
20,  1843.  Pupil  of  Baroness  Leu- 
hausen,  F.  Berwald,  and  Wartel  in 
Paris;  d6but  Th.  Lyrique  1864  and 
sang  there  till  1866,  at  Paris  Ope"ra 
1868-70;  in  America  1870-72,  1873- 
74;  has  been  very  popular  on  Conti- 
nent and  in  London,  where  she  gave 
farewell  concert  1888;  voice  was  not 
powerful  but  skilfully  managed  and 
her  acting  (especially  of  Marguerite 
in  Faust)  was  restrained  and  effec- 
tive; living  in  Paris  (1910). 

Nohl  (nol),  Carl  Friedrich  Ludwig.  b. 
Iserlohn,  Dec.  5,  1831;  d.  Heidel- 
berg, Dec.  15,  1885.  Entered  pro- 
fession of  law  after  study  at  Bonn, 
Heidelberg,  and  Berlin;  1858  turned 
to  music;  pupil  of  Dehn  and  Kiel; 
prof,  at  Munich  1865-68,  lecturer 
and  prof  at  Heidelberg  after  1872; 
edited  and  wrote  many  valuable 
works  on  Beethoven  (life,  letters, 
contemporary  judgments,  etc.)  and 
on  Mozart,  etc.;  almost  all  trans- 
lated. 

Nordica,  Lillian,  dram.  sop.  [real  name 
Lillian  Norton] .  b .  Farmington ,  Me . , 
May  12, 1859.  Pupil  of  John  O'Neill, 
and  at  N.  E.  Cons.;  concert  d6but 
Boston  1876;  traveled  in  Europe 
as  soloist  with  Gilmore's  Band  1878; 
pupil  of  Sangiovanni  in  Milan; 


operatic  de"but  Brescia  1879;  sang 
in  Berlin,  St.  Petersburg  and  other 
cities;  Paris  Ope*ra  1881;  after 
marriage  to  F.  A.  Gower  and  his 
disappearance  in  balloon,  did  not 
sing  until  1887,  in  London,  where 
she  appeared  regularly  until  1893; 
at  Metropolitan,  N.  Y.,  from  1893- 
1908,  with  some  interruptions;  1894 
at  Bayreuth;  1910  great  success  in 
Paris  as  Isolde;  2d  husband  Z.  F. 
Doeme,  3d  G.  W.  Young;  voice  of 
considerable  power  constantly  devel- 
oped, so  that  she  was  able  to  under- 
take difficult  Wagnerian  parts;  suc- 
cess in  concerts. 

Nordraak  (nor'-drak),  Rikard,  compr. 
b.  Christiania,  June  12,  1842;  d. 
Berlin,  Mar.  20,  1876.  Pupil  of 
Kiel  and  Kullak;  collected  and 
edited  Norwegian  folk-music;  had 
great  influence  on  Grieg;  composed 
incidental  music  to  Bjornson's  plays, 
pf.  mus.,  etc.,  with  Scandinavian 
characteristics. 

Norris,  Homer  Albert,  compr.  b. 
Wayne,  Me.,  1860.  Pupil  of  Mars- 
'ton,  Turner,  Emery,  and  Chadwick 
at  N.  E.  Cons,  and  of  Guilmant, 
Dubois,  Godard,  and  Gigout  in 
Paris;  orgt.  at  Lewiston  and  Port- 
land, Me.,  at  Ruggles  St.  Bapt.  Ch., 
Boston,  and  since  1904  at  St. 
George's,  New  York;  author  of 
Practical  Harmony  on  French  Basis 
and  Art  of  Counterpoint;  very  suc- 
cessful teacher  of  harmony,  almost 
only  American  who  has  not  fol- 
lowed the  more  voluminous  Leipzig 
and  Munich  methods;  compr.  of 
about  50  songs,  to  words  by  Kipling 
and  other  modern  poets,  of  cantata 
Nain  and  Flight  of  the  Eagle,  pas- 
sages from  Walt  Whitman  for 
soprano,  tenor,  and  baritone,  on 
very  modern  and  original  theory  of 
progressions. 

Noskowski  (nos-koff-ski),  Sigismund, 
compr.  b.  Warsaw,  May  2,  1848; 
d.  Aug.,  1909.  Pupil  at  Warsaw 
Inst.;  invented  music  notation  for 
blind;  pupil  of  Kiel  and  Raif  at 
Berlin;  condr.  at  Constance;  direc- 
tor of  mus.  soc.  and  prof,  at  Cons., 
Warsaw;  composed  symphonies, 
symphonic  poem,  variations,  over- 
ture, quartet,  ballet,  operas,  and  pf. 
mus.,  national  in  character. 


NOTKER 


OBRECHT 


Notker  [called  Balbulus],  monk,  compr., 
writer,  b.  Elgg  or  Jonswill,  830;  d. 
St.  Gall,  April  6,  912.  Chiefly  distin- 
guished for  development  of  sequences 
(some  of  his  still  extant)  and  for  4 
treatises,  one  on  plain  song,  the 
others  on  theory  and  organs;  some 
attribute  these  writings  to  N.  Lab- 
beo,  monk  at  St.  Gall  in  the  tenth 
century. 

Nottebohm  (not'-te'-bom),  Martin  Gus- 
tav,  writer,  b.  Liidenscheid,  near 
Arnsberg,  Westphalia,  Nov.  12, 
1817;  d.  Graz,  Oct.  29,  1882. 
Studied  at  Berlin  with  Berger  and 
Dehn,  at  Leipzig  with  Schumann 
and  Mendelssohn,  at  Vienna  with 
Sechter;  taught  pf.  and  comp.  at 
Vienna;  edited  Beethoven's  sketch 
books  and  carefully  investigated 
many  details  of  his  career;  com- 
piled thematic  lists  of  works  of 
Beethoven  and  Schubert;  coeditor  of 
works  of  Beethoven,  Mozart,  Bach, 
etc. 

Nourrit  (nor-ri),  dram,  tenor,  b.  Paris, 
Mar.  3,  1802;  d.  Naples,  Mar.  8, 
1839.  Son  of  Louis  N.  (1780-1831), 
also  tenor;  pupil  of  Garcia;  de"but 
Ope'ra  1821;  father's  successor  as 
leading  tenor  there  1825;  teacher 
at  Cons.  1827-37;  mortified  by 
engagement  of  Duprez  as  associate 
artist,  left  Paris  in  depression  and 
committed  suicide;  extraordinarily 
skilful  as  singer  and  actor  and  very 
popular;  created  Robert  in  Robert 
le  Diable,  Rdoul  in  Les  Huguenots 
and  many  other  parts. 

Novacek  (no'-va-chek),  Ottokar  Eugen, 
vlt.,  compr.  b.  Fehertemplom,  Hun- 
gary, May  13,  1866;  d.  New  York, 


Feb.  3,  1900.  Pupil  of  father,  Dont, 
Schradieck,  and  Brodsky;  Mendels- 
sohn prize  at  Leipzig  Cons.  1885; 
member  of  Gewandhaus  Orch.,  of 
Brodsky  Quartet,  of  Bost.  Symph. 
Orch.  1889-92,  of  Damrosch  Orch., 
N.  Y.,  1892-93,  of  Metropolitan 
Opera  orch.,  sometimes  playing 
vln.,  sometimes  viola;  retired  from 
playing  because  of  illness  1899; 
composed  3  string  quartets,  pf.  con- 
certo, caprices  for  pf.  and  vln., 
etc.;  mus.  distinguished  by  striking 
originality  of  idea  and  harmonic 
development. 

Novello,  Vincent,  publisher,  b.  London, 
Sept.  6,  1781;  d.  Nice,  Oct.  9,  186). 
Chorister  in  Sardinian  Chapel  under 
Webbe;  deputy  orgt.  to  Webbe  and 
Danby,  orgt.  at  Portuguese  em- 
bassy, and  at  Roman  Catholic 
Chapel,  Moorfields;  pst.  to  Italian 
Opera;  founder  and  occasional  condr. 
Philharmonic  Soc.;  founder  firm 
Novello,  Ewer  &  Co.,  publishers, 
edited  and  published  many  valuable 
collections;  firm  carried  on  by  his 
sons;  daughter  Mary  married  Charles 
Cowden  Clarke,  friend  of  Keats; 
daughter  Clara  Anastasia  (b.  Lon- 
don, June  10,  1818;  d.  Rome,  1908), 
very  successful  concert  and  oratorio 
singer  in  England  and  Germany;  re- 
tired to  Italy  1860. 

Novovieyski  (no'-vo-vi-ey'-ski),  Felix, 
compr.  b.  Wartenburg,  1875.  Stud- 
ied at  Stern  Cons.,  Berlin,  at  Church 
Music  School,  Ratisbon,  and  at  Meis- 
terschule,  Berlin;  where  he  won 
Meyerbeer  prize;  has  composed  2 
symphonies,  an  overture,  and  2 
oratorios. 


o 


Oakeley,  Sk  Herbert  Stanley,  compr. 
b.  Baling,  Middlesex,  July  20,  1830; 
d.  Edinburgh,  Oct.  26,  1903.  Pupil 
of  Elvey,  Moscheles,  etc.,  at  Leipzig 
Cons.,  of  Schneider  in  Dresden,  of 
Breidenstein  at  Bonn ;  1865-91 

Erof.  of  mus.  at  Univ.  of  Edinburgh; 
older  of  many  honorary  degrees; 
remarkable  org.  player,  compr.  of 
songs,  anthems,  etc.;  promoter  of 
music  in  Edinburgh,  especially  of 
"  Reid  "  concerts. 


Obrecht  [also  written  Hobrecht,  Ober- 

tus],  compr.  b.  Utrecht,  1430;  d. 
Ferrara,  1505;  capellmeister  1465  at 
Utrecht  (where  he  taught  Erasmus); 
1483-85  director  of  school  of  singing 
at  Cambrai,  1489-1500  at  Bruges; 
made  trip  to  court  of  Lorenzo  the 
Magnificent  at  Florence,  possibly 
for  a  time  in  service  of  Duke  of 
Ferrara;  1492  master  at  Antwerp 
Cath.,  where  he  was  highly  honored; 
prolific  compr.  of  chansons  and 


OCHS 


ONSLOW 


masses,  earliest  compr.  of  passion 
music ;  follower  of  Okeghem  in  school 
of  extremely  elaborate  counterpoint. 

Ochs  (oks),  Siegfried,  condr.  b.  Frank- 
fort-on-Main,  Apr.  19, 1858.  At  first 
student  of  medicine;  pupil  at  Berlin 
Hochschule  of  Kiel  and  Urban; 
benefited  by  friendship  of  Von  Billow ; 
condr.  of  Philharmonischer  Chor, 
which  has  grown  into  largest  sing- 
ing society  in  Berlin,  where  many 
new  works  are  brought  out;  teacher 
and  contributor  to  periodicals;  com- 
posed operas  (In  Namen  des  Gesetzes) , 
choruses,  canons,  etc. 

Ockenheim,  see  Okeghem. 

Odington,  Walter  of  [or  Walter  of 
Evesham],  writer,  b.  about  1250; 
d.  about  1316.  Benedictine  monk; 
author  of  treatise  De  speculatione 
musicce  on  notation,  instruments, 
and  descant;  later  life  apparently 
concerned  with  mathematics  and 
astronomy;  first  to  emphasize  major 
triad  as  real  consonance. 

Oesten  (e'st'-en),  Theodor,  pst.,  compr. 
b.  Berlin,  Dec.  31,  1813;  d.  there, 
Mar.  16,  1870.  Pupil  of  Politzki, 
Bohmer,  Rungenhagen,  Schneider, 
etc.;  played  other  instruments;  pop- 
ular as  teacher  and  of  great  vogue 
as  compr.  of  graceful  and  sentimental 
pieces  (Les  premieres  violettes,  etc.). 

Offenbach  (of'-fen-bak),  Jacques, 
compr.  b.  Cologne,  June  21,  1819; 
d.  Paris,  Oct.  5,  1880.  Name  origin- 
ally Levy ;  son  of  Jewish  cantor;  pupil 
of  Vaslin  in  'cello  playing  at  Paris 
Cons.;  member  of  Ope'ra  Comique 
orch.;  composed  song  parodies  of 
La  Fontaine;  1849  condr.  at  Theatre 
Francais  and  won  recognition  by 
composition  of  Chanson  de  Fortunio 
for  Musset's  Chandelier;  produced 
several  small  pieces  without  much 
success;  1855-66  managed  Bouffes- 
Parisiens  Th.  for  himself,  where  he 
brought  out  many  works;  1872-76 
manager  of  Th.  de  la  GaltS;  1877 
trip  to  America;  composed  about  90 
operas  in  25  years;  established  Pari- 
sian burlesque  opera  as  type  of  light, 
gay  spirit  and  pleasant  melody, 
though  music  is  often  carelessly  con- 
structed; most  noted  works  are 
Orphee  aux  enfers,  La  belle  Helene,  La 
grande  duchesse  de  Gerolstein,  and 
Les  contes  d'Hoffmann. 


Okeghem  (ok'-S-h6m),  [also  written 
Ockenheim,  Okekem,  etc.],  Jean  de, 
compr.  b.  Termonde,  E.  Flanders, 
about  1430;  d.  Tours,  1496  [Grove]. 
1443-44  chorister  at  Antwerp  Cath. ; 
pupil  of  Dufay  and  possibly  of 
Binchois;  compr.  to  Charles  VII 
at  Paris;  maitre  de  chapelle  to  Louis 
XI,  traveling  in  Spain  and  Flanders; 
founder  of  later  Netherland  school, 
marked  by  greater  freedom  of 
thought  and  extreme  ingenuity  of 
counterpoint;  as  teacher  O.  had  high 
reputation;  through  Josquin  Depres 
and  other  pupils  traditions  of  school 
widely  spread. 

Olitzka,  Rosa,  dram.  alto.  b.  Berlin, 
Sept.  6,  1873.  Pupil  of  Artot  and 
Hey;  concert  d6but  Berlin,  where 
father  was  cantor  at  Jewish  syna- 
gogue; operatic  d6but  Brunn  1892, 
engaged  there;  at  Hanover  1892-93, 
at  London 'after  1893;  in  N.  Y. 
1895. 

Oliver,  Henry  Kemble,  compr.  b. 
Beverly,  Mass.,  Nov.  24,  1800;  d. 
Boston,  Aug.  10,  1885.  Boy  singer 
in  Park  St.  Ch.,  Boston;  graduated 
Dartmouth  Coll.,  1818;  after  teach- 
ing in  Salem,  was  adjutant  general 
of  Mass.,  supt.  of  cotton  mill,  mayor 
of  Lawrence,  and  later  of  Salem; 
state  treas.;  orgt.;  founder,  director 
of  clubs  in  Lawrence  and  Salem; 
composed  many  old  familiar  hymn 
tunes  (Federal  St.,  Hudson,  etc.). 

Olsen,  Ole,  compr.,  condr.  b.  Hammer- 
fest,  Norway,  July  5,  1850.  Studied 
at  Trondhjem  and  at  Leipzig;  after 
graduating  he  located  in  Copen- 
hagen as  teacher  and  condr.;  his 
compositions  include  works  for  or- 
chestra, piano  pieces  and  songs;  they 
are  delicate  in  style  and  show  the 
influence  of  Norwegian  folk  music. 

Ondriczek  (on'-dri-chek),  Franz,  vlt. 
b.  Prague,  Apr.  29,  1859.  Pupil  of 
father  and  member  of  his  dance 
orch.;  studied  at  Prague  Cons,  and 
at  Paris  Cons,  with  Massart;  1st 
prize  1879;  after  two  years  more  in 
Paris,  played  in  Berlin  and  Bohemia; 
since  has  played  successfully  in  Con- 
tinental and  American  cities. 

Onslow,  George,  compr.  b.  Clermont- 
Ferrand,  France,  July  27,  1784;  d. 
there,  Oct.  3,  1852.  Pupil  on  pf.  of 


ORTH 


OUSELEY 


Hullmandel,  Dussek,  and  Cramer, 
and  in  comp.  of  Reicha;  member  of 
Institute  1842;  wrote  3  comic  operas 
of  moderate  success,  and  great 
amount  of  chamber  music,  in  which 
he  took  great,  delight,  playing  'cello 
in  amateur  quartet;  of  longest  life 
have  been  string  quintets,  some  with 
double-bass  part,  written  for  Drago- 
netti. 

Orth  (ort),  John,  pst.,  teacher,  b.  near 
Annweiler,  Bavaria,  Dec.  2,  1850. 
Came  to  Taunton,  Mass.,  when  in- 
fant; pupil  of  father,  orgt.  at  12, 
studied  in  Boston  16-20;  studied  in 
Germany  for  5  years,  pf.  with  Kul- 
lak,  Lebert,  Pruckner,  Deppe,  and 
Liszt,  and  comp.  with  Faisst,  Kiel, 
etc.;  since  1875  teaching  in  Boston; 
composed  graceful  pf.  music.  Mar- 
ried, 1883,  pupil  Lizette  E.  Blood, 
compr.,  under  name  L.  E.  Orth,  of 
Sixty  Songs  from  Mother  Goose, 
Four-and-Twenty  Songs  for  Sleepy- 
time,  Mother  Goose  Songs  without 
Words  (70  piano  pcs.),  On  the  White 
Keys  (an  Introduction  to  the  Piano), 
The  Three  Bears  (operetta),  three 
light  operas,  over  300  piano  teach- 
ing pieces  and  various  songs. 

Osborne,  George  Alexander,  pst., 
teacher,  b.  Limerick,  Ireland,  Sept. 
24,  1806;  d.  London,  Nov.  16,  1893. 
Self-taught  until  18;  in  Brussels 
taught  crown  prince;  in  Paris  after 
1826;  pupil  of  Pixis  and  F6tis,  later 
of  Kalkbrenner;  at  same  time  inti- 
mate with  Chopin,  Berlioz,  etc.; 
after  1843  taught  in  London;  com- 
posed popular  pf.  music  (La  pluie 
des  perles.  etc.),  duets  for  vln.  and 
pf.;  wrote  on  great  contemporaries 
for  Mus.  Ass'n  and  periodicals. 

Osgood,  George  Laurie,  compr.  b. 
Chelsea,  Mass.,  April  3,  1844.  Grad- 
uated 1866  from  Harvard,  where  he 
directed  glee  club  and  orch.;  pupil 
in  Germany  of  Sieber,  Haupt,  and 
Franz,  and  in  Italy  of  Lamperti; 
concert  tour  in  Germany  and  with 
Thomas  in  America;  condr.  of  Boyls- 
ton  Club;  taught  successfully  in 
Boston  1872-1906;  now  living  (1910) 
in  Florence;  published  Guide  in  the 
Art  of  Singing. 

Otto,  Ernst  Julius,  compr.  b.  Konig- 
stein,  Saxony,  Sept.  1,  1804;  d.  Dres- 
den, March  5, 1877.  Pupil  of  Weinlig 


at  Dresden,  of  Schicht  at  Leipzig, 
also  studying  at  Univ.;  taught  at 
Blochmann  Inst.,  Dresden,  cantor 
and  director  at  churches;  condr.  of 
Liedertafel;  created  cycles  of  songs 
for  male  voices  (Gesellenfahrten, 
Soldatenleben,  etc.),  wrote  many 
good  songs,  chiefly  in  collection 
Ernst  und  Scherz. 

Oudin  (6-dan) ,  Eugfene  Esperance,  bari- 
tone, b.  New  York,  Feb.  24,  1858; 
d.  London,  Nov.  4,  1894.  Graduate 
at  Yale,  member  of  bar;  chorister 
and  director  of  church  music  in 
N.  Y.;  practised  law,  manufactured 
stained  glass;  returned  to  music 
after  Chicago  concert,  1886;  member 
of  McCaull  Opera  Company;  suc- 
cessful in  London  in  opera  (created 
Templar  in  Sullivan's  Ivanhoe)  and 
in  concerts;  later  sang  in  St.  Peters- 
burg; married,  1886,  Louise  Parker, 
also  singer. 

Oulibichef  (ou-lib'-i-sheff),  Alexander 
de,  writer,  b.  Dresden,  Apr.  2,  1794; 
d.  Nijni  Novgorod,  Feb.  2,  1858. 
Son  of  ambassador,  himself  a  diplo- 
matist; amateur  vlt.;  editor  of  St. 
Petersburg  Journal  1812-30;  wrote 
Nouvelle  biographic  de  Mozart  1844, 
containing  some  new  and  valuable 
material;  depreciation  of  Beethoven 
called  forth  Lenz's  defense  Beethoven 
et  ses  trois  styles,  to  which  O.  replied 
with  Beethoven,  ses  critiques  et  ses 
glossateurs,  in  which  he  maintains 
disapproval  of  extravagance  of  B's 
later  works. 

Ouseley  (ozley),  Sir  Frederick  Arthur 
Gore,  compr.,  theorist,  b.  London, 
Aug.  12,  1825;  d.  Hereford,  Apr.  6, 
1889.  Son  of  ambassador  and 
Orientalist;  graduated  at  Oxford, 
Mus.  Doc.  1854;  prof,  of  mus.  at 
Oxford  Univ.  1855;  ordained  priest 
1855  and  appointed  precentor  at 
Hereford  Cath.;  vicar  and  warden 
of  school  at  St.  Michael's,  Tenbury 
which  he  founded  and  endowed; 
excellent  orgt.  and  theorist,  author 
of  treatises  on  Harmony,  Fugue,  etc.; 
English  ed'r  Naumann's  History  of 
Music;  comp.  oratorio,  songs,  a  few 
glees,  and  many  dignified  church 
comp.;  raised  standard  of  music  at 
Oxford ;  edited  collection  of  Cathedral 
Services  and,  with  Monk,  Anglican 
Psalter  Chants. 


PACHELBEL 


PAGANINI 


Pachelbel  (pa-kel'-bel),  Johann,  orgt., 
compr.  b.  Nuremberg  [baptized 
Sept.  1],  1653;  d.  there,  Mar.  3, 1706. 
Studied  with  Schwemmer,  and  at 
Altdorf  and  Ratisbon;  at  Vienna 
pupil  and  deputy  of  J.  K.  Kerll; 
positions  at  Eisenach,  Erfurt,  Stutt- 
gart, Gotha,  and  Nuremberg;  com- 
posed toccatas,  chaconnes,  and, 
especially,  elaborate  chorales;  musi- 
cal ancestor  of  J.  S.  Bach;  developed 
chorale  playing. 

Pacher  (pa'-ker),  Joseph  Adalbert, 
compr.  b.  Daubrawitz,  Moravia, 
Mar.  29,  1816;  d.  Gmiinden,  Sept.  3, 
1871.  Studied  with  Preyer  and 
Halm;  taught  in  Vienna  many  years; 
published  more  than  60  "  salon  " 
pieces. 

Pachmann  (pak'-man),  Vladimir  de, 
pst.  b.  Odessa,  July  27,  1848.  Pupil 
of  father,  amateur  vlt.,  of  Dachs  at 
Vienna  Cons.;  after  appearance  in 
Russia  1869  worked  by  himself  for 
eight  years,  and,  after  appearing  in 
Germany,  for  two  more;  since  then 
has  won  great  praise  in  Europe  and 
America;  his  many  tricks  of  manner 
and  eccentricities  of  behavior  on  the 
stage  do  not  keep  him  from  playing 
with  exquisite  taste  and  expres- 
siveness; Chopin  is  his  specialty  and 
he  is  probably  the  greatest  of  all 
Chopin  players;  technically  remark- 
able for  a  touch  as  soft  as  velvet. 

PachulsM  (pa-kul'-ske),  Heinrich,  pst. 
b.  Lasa,  Russia,  Oct.  16,  1859. 
Studied  with  Strobl  and  Zelenski  at 
Warsaw,  with  Taneiev,  N.  Rubin- 
stein, and  Pabst  at  Moscow  Cons.; 
teacher  at  Moscow  after  1886; 
composed  orch.  suite,  pf.  sonata, 
studies,  arrangements  of  Tchaikov- 
ski's  works. 

Pacini  (pa-che'-ne),  Giovanni,  compr. 
b.  Catania,  Feb.  17,  1796;  d.  Pescia, 
Dec.  6,  1867.  Studied  with  Marchesi 
and  Mattei  at  Bologna,  with  Fur- 
lanetto  at  Venice;  1813-1834  pro- 
duced about  40  operas;  because  of 
failure  of  last  opened  music  school 
at  Viareggio,  afterward  moved  to 
Lucca;  1840-67  produced  Saffo,  his 


best  opera,  and  about  40  more;  com- 
posed many  masses,  cantatas,  etc.; 
popular  imitator  of  Rossini. 

Paderewski  (pad-ref'-ski),  Ignaz  Jan, 
pst.,  compr.  b.  Kurilowka,  Podolia, 
Poland,  Nov.  18,  1860.  Pupil  of 
Roguszki  at  Warsaw  Cons.;  1879-81 
teaching  at  Warsaw  Cons.;  pupil  of 
Urban  and  Kiel  at  Berlin,  and,  after 
teaching  at  Strassburg,  of  Leschet- 
izky  at  Vienna;  after  1887  a  trium- 
phant virtuoso;  victim  of  much 
extravagant  and  indiscriminate  ad- 
miration, often  justly  criticized  by 
musicians  for  forcing  of  tones,  he 
yet  remains  preeminent  for  exquisite 
delicacy,  even  crescendos,  and  tre- 
mendous force  and  commanding 
power;  compr.  of  various  pf.  pieces, 
sonata,  Op.  21,  pf.  concerto,  opera 
Manru  (Dresden  1901,  New  York 
and  Boston  1902),  and  symphony 
1909;  opera  Sakuntala  not  yet  pro- 
duced; compositions,  especially  those 
in  larger  forms,  are  interesting  enough 
to  justify  their  vaulting  ambition; 
established  P.  Fund,  prizes  for  Ameri- 
can composers,  1900. 

Paer  (pa'-er),  Ferdinando,  compr.  b. 
Parma,  June  1,  1771;  d.  Paris,  May 
3,  1839.  Pupil  of  vlt.  Ghiretti; 
condr.  at  Venice  1791;  1797-1802  at 
Vienna,  1802-1807  at  Dresden;  after 
1807  at  Paris  as  maftre  de  chapelle 
to  Napoleon,  condr.  Ope"ra  Comique, 
at  Th.  Italien  1812-27;  member  of 
Academy  1831;  condr.  royal  cham- 
ber music  1832;  composed  about 
40  operas  of  conventional  Italian 
smoothness,  without  depth  (best  is 
Camilla,  prod,  at  Vienna,  where  P. 
may  have  been  influenced  by  Mo- 
zart); unsuccessful  rival  of  Rossini 
in  Paris. 

Paesiello,  see  Paisiello. 

Paganini  (pag-a-ne'-ne),  Niccolb,  vlt. 
b.  Genoa,  Oct.  27,  1782;  d.  Nice, 
May  27,  1840.  Son  of  shopkeeper; 
pupil  of  Servetto  and  Costa;  d6but 
1793;  pupil  of  Rolla  and  Ghiretti; 
1797  tour  in  Lombardy;  1798  ran 
away  from  severe  father  and  filled 
his  time  with  concerts,  gambling, 


PAGE 


PALESTRINA 


and  love  affairs;  1801-04  did  not 
appear  in  public,  and  to  this  period 
refer  the  false  stories  of  his  imprison- 
ment, of  his  charming  of  jailer  by 
playing  on  one  string  and  of  his  league 
with  the  devil;  after  year  of  prac- 
tise appeared,  1805,  exciting  great 
enthusiasm;  1805-08  court  vlt.  at 
Lucca;  after  1808  traveled  in  Italy 
and  other  lands,  Berlin  1829,  Paris 
and  London  1831;  partial  retire- 
ment after  1834;  the  nervous  ec- 
centricities natural  to  him  now  in- 
creased by  illness  and  dissipation 
and  fostered  by  cheap  fondness  for 
display;  but  amazing  technic  sur- 
passed that  of  any  other  player;  ex- 
tended compass  of  vln.  and  added 
to  its  brilliance  by  developing  use 
of  stopped  harmonics;  tone  was  pure 
but  lacking  in  richness;  composed 
caprices,  sonatas,  variations,  etc., 
many  of  which  are  too  difficult  for  any 
but  players  of  first  technical  rank. 

Page,  Nathaniel  Clifford,  compr.  b. 
San  Francisco,  Oct.  26,  1866.  Pupil 
of  E.  S.  Kelley,  resident  of  Boston 
1905-10;  composed  music  to  Cat  and 
the  Cherub  (London,  1899),  Moonlight 
Blossom  (London,  1899),  and  Japan- 
ese Nightingale  (New  York,  1903); 
edited  collection  of  Irish  Songs,  etc. 

Paine,  John  Knowles,  compr.,  teacher. 
b.  Portland,  Me.,  Jan.  9,  1839;  d. 
Cambridge,  Mass.,  Apr.  25,  1906. 
Pupil  of  Kotzschmar  at  Portland, 
of  Haupt,  Teschner,  and  Wieprecht 
at  Berlin  Hochschule;  organ  concerts 
in  Berlin  and  U.  S.  1861;  1862  in- 
structor, 1873  asst.  prof.,  1875  prof, 
at  Harvard  Univ.  (first  to  hold  chair 
of  music  in  American  college);  did 
much  to  raise  music  to  level  of  other 
arts  in  education  and,  by  recitals 
and  lectures  outside  classes,  to  ex- 
tend knowledge  of  good  music  as 
part  of  general  culture;  among  pupils 
were  Foote,  Converse,  Clayton 
Johns,  and  many  others;  composed 
mass,  symphony,  music  for  CEdipus 
Tyrannus  and  Birds,  Columbm 
March  and  Hymn  for  World's  Fair, 
symphonic  poem,  cantatas,  and  opera 
Azara  given  in  concert  form  only, 
Boston,  Cecilia  Soc.,  1907;  of  wide 
influence  in  American  musical  life; 
his  own  music  is  moderately  con- 
servative, seldom  of  striking  origi- 
nality. 


Paisiello  (pai-si-el'-lo),  Giovanni,  compr. 
b.  Taranto,  Italy,  May  9,  1741;  d. 
Naples,  June  3,  1816.  Pupil  of 
Presta  and  at  Naples  Cons,  of  Dur- 
ante,  Cotumacci,  and  Abos;  taught 
there  1754-59;  composed  successful 
operas  1763-1776;  1776-1784  at  St. 
Petersburg,  1784-99  at  Naples,  maes- 
tro di  cappella  to  Ferdinand  IV,  whose 
favor  he  lost  during  Revolution; 
1802-03  in  Paris  under  Napoleon, 
1803  again  at  Naples;  on  a  nominal 
salary  only  after  1815;  compr.  of 
over  100  operas,  distinguished  even 
at  time  for  charm  of  melody;  his 
Barbiere  di  Siviglia  was  so  popular 
that  it  hindered  vogue  of  Rossini's 
at  first. 

Paladilhe  (pa-la-de-ye'),  Emile,  compr. 
b.  Montpellier,  June  3,  1844.  Pupil 
at  Paris  Cons,  of  Marmontel, 
Benoist,  and  Halevy;  Grand  prix  de 
Rome  1860;  by  opera  Le  Passant 
1872  and  song  Mandolinata  won 
recognition;  after  several  unsuccess- 
ful operas  wrote  Patrie  1886,  after 
Sardou's  play,  which  has  had  great 
success;  member  Academy  1892. 

Palestrina  (pal-es-tre'-na) ,  Giovanni 
Pierluigi  da  [Pierluigi  family  name], 
compr.  b.  Palestrina,  near  Rome, 
1526;  d'.  Rome,  Feb.  2,  1594.  Noth- 
ing known  of  early  youth;  orgt. 
capellmeister  at  Palestrina '1544-51 ; 
master  of  boys  and  capellmeister  at 
St.  Peter's,  Rome,  1551-55;  although 
not  a  priest,  and  having  a  wife  and 
children,  admitted  to  Papal  chapel 
1555,  but  was  dismissed  in  few  months 
and  later  in  same  year  made  capellm. 
at  St.  John  Lateran  (for  which  church 
he  wrote  famous  Improperia),  at  Sta. 
Maria  Maggiore  1561;  again  at  St. 
Peter's  1571.  When  the  Council  of 
Trent  (1545-63)  tried  to  establish 
standard  in  church  music,  P's  Mass  of 
Pope  Marcelltis,  previously  published, 
was  used  to  illustrate  the  reforms 
urged ;  these  reforms  included  greater 
regard  for  clearness  and  proper 
accent  of  Latin  words,  restriction  of 
elaborated  music  phrases  for  same 
purpose,  discarding  of  secular  tunes 
(even  indecent  popular  airs  had  been 
used  as  bases  for  masses) ;  Sixtus  V 's 
wish  to  make  P.  maestro  of  Sistine 
Chapel  was  frustrated  by  refusal  of 
singers  to  serve  under  layman;  asst 
of  Pope  Gregory  XIII  in  revision  of 


PALLONI 


PAREPA-ROSA 


liturgy,  but  most  actual  work  done 
by  pupil  Giudetti;  of  historical  sig- 
nificance as  most  important  figure  in 
later  Netherland  school — the  individ- 
ual who  more  than  any  one  else  made 
counterpoint  a  means  of  expression 
instead  of  an  end  in  itself — P's  music 
is  also  to  those  who  deplore  the 
operatic,  emotional  element  in  church 
music,  the  ideal  of  lofty  and  dignified 
expression. 

Palloni  (pal-lo'-nl),  Gaetano,  orgt.,  sing- 
ing teacher,  b.  Cammerino,  Italy, 
Aug.  4,  1831.  Studied  with  Cellini 
at,Fermo;  orgt.  there,  1854;  pupil  of 
Mabellini  at  Florence;  teaching  sing- 
ing there. 

Palmer,  Horatio  Richmond,  teacher, 
b.  Sherburne,  N.  Y.,  Apr.  26,  1834; 
d.  Nov.,  1907.  Studied  with  father 
and  in  New  York,  Berlin,  and  Flor- 
ence; 1857  head  of  music  dept. 
Rushford  Acad.;  in  Chicago,  edited 
Concordia;  conducted  various  ass'ns, 
New  Church  Choral  Union  (mam- 
moth chorus);  dean  of  Summer 
School  of  Music  at  Chautauqua, 
N.  Y.;  many  collections,  Song  Queen, 
Song  Herald,  etc.,  useful  in  popular 
classes. 

Palmer,  Mrs.  R.,  see  Nevada,  Emma. 

Panofka  (pan-off'-ka),  Heinrich,  sing- 
ing teacher,  b.  Breslau,  Oct.  3,  1807; 
d.  Florence,  Nov.  18,  1887.  Pupil 
of  Strauch  and  Forster  in  childhood, 
later  of  Mayseder  and  Hoffmann  in 
Vienna;  played  there,  in  Munich, 
Berlin,  finally,  1834,  in  Paris,  where, 
after  some  lessons  from  Bordogni, 
founded  unsuccessful  school  of  sing- 
ing; asst.  condr.  in  London,  where 
he  taught  singing  1844-1852;  1852 
returned  to  Paris;  after  1866  taught 
in  Florence;  vln.  compositions  are  of 
less  value  than  his  methods  of  sing- 
ing and  vocalises. 

Panormo,  Vincenzo  Trusiano,  vln.- 
maker.  b.  Monreale,  near  Palermo, 
Nov.  30,  1734;  d.  London,  1813. 
Name  may  be  derived  from  Palermo; 
worked  in  Cremona,  perhaps  with 
Bergonzi,  and  in  Milan;  in  Paris 
1750-72,  1783-89,  in  London  1772- 
83;  made  many  vlns.  somewhat  like 
Bergonzi's  or  Stradivari's,  of  rather 
large  model,  with  rich  tone;  several 
sons  also  makers. 


Panseron  (pon-se"-ron),  Auguste  Math- 
ieu,  teacher,  writer,  b.  Paris,  Apr. 
26,  1796  [1795];  d.  there,  July  29, 
1859.  Pupil  of  father  and  at  Paris 
Cons,  with  Berton  and  Gossec; 
Grand  prix  de  Rome  1813;  accom- 
panist to  Ope"ra  Comique;  teacher 
of  solfeggio  at  Cons.  1826,  vocalisa- 
tion 1831,  and  singing  1836-59;  com- 
posed many  charming  songs,  sol- 
feggi, Art  of  Singing,  Art  of  Compo- 
sition, Mois  de  Marie;  A  B  C  of 
Music  is  a  well-known  work. 

Panzner,  Carl,  condr.  b.  Teplitz, 
Bohemia,  Mar.  2,  1866.  Pupil  at 
Dresden  Cons.;  capellmeister  at 
theatres  in  Sondershausen,  Elber- 
feld,  Bremen,  Leipzig,  and  1899  of 
Bremen  Philharmonic. 

Papini  (pa-pe'-nl),  Guido  (gue-do), 
vlt.  b.  Camagiore,  near  Florence, 
Aug.  1,  1847.  Pupil  of  Giorgetti; 
de"but  1860;  after  tours  in  Europe, 
taught  at  Dublin  Royal  Acad.  of 
Mus.;  founded  classical  concerts 
there;  then  in  London;  wrote  mus. 
for  vln.  and  'cello  and  vln.  method. 

Papperitz,  Benjamin  Robert,  orgt., 
compr.,  writer,  b.  Pirna,  Dec.  4, 
1826;  d.  Leipzig,  Sept.  29,  1903. 
Student  and  teacher  of  philology; 
pupil  of  Hauptmann,  Ricnter,  and 
Moscheles  at  Leipzig  Cons.,  where 
he  'taught  harm,  and  counterpoint 
after  1851 ;  also  orgt.  in  Leipzig  1868- 
99;  published  org.  and  vocal  mus. 

Paradies  (pa-ra-de'-es),  [or  Paradisi], 
Pietro  Domenico,  compr.  b.  Naples, 
1710;  d.  Venice,  1792.  Pupil  of 
Porpora;  opera  compr.  in  Italy  and 
for  some  years  after  1747  in  London, 
where  he  was  sought  as  pf .  and  sing- 
ing teacher  of  Mara,  Thomas  Linley, 
and  others;  composed  also  for  harp- 
sichord. 

Parent  (pa-ron),  Charlotte  Frances 
Hortense,  pst.  b.  London,  Mar.  22, 
1837.  Pupil  of  Mme.  Farrenc  at 
Paris  Cons.;  1st  prizes,  harmony 
1855,  pf.  1857;  founded  school  for 
pf.  teachers,  Paris;  wrote  method 
with  exercises;  edited  Repertoire 
encyclopedique  du  pianiste. 

Parepa-Rosa,  Euphrosyne,  dram.  sop. 
b.  Edinburgh,  May  7,  1836;  d.  Lon- 
don, Jan.  21,  1874.  Daughter  of 
Demetrius  Parepa,  Baron  de  Boyescu, 


PARISH-ALVARS 


PARRY 


and  Elizabeth  Seguin,  singer  and 
P's  first  teacher;  de"but  Malta  at 
16;  sang  in  Italy,  Spain,  London, 
1857;  America  1865,  '67,  '71;  married 
manager  Carl  Rosa  1867;  Parepa 
Rosa  Co.  especially  successful  in 
America,  in  Eng.  and  Italian  operas; 
as  a  singer  P.  was  more  successful 
in  oratorio  than  in  opera. 

Parish-Alvars,  Ellas,  harp  player,  b. 
Teignmouth,  Eng.,  Feb.  28,  1810; 
d.  Vienna,  Jan.  25,  1849.  Of  Jewish 
descent;  pupil  of  Dizi,  Labarre,  and 
Bochsa;  tours  on  Continent  and  in 
England  1831-47,  except  for  two 
years  in  Orient;  1847  chamber  harp- 
ist to  Emp.  of  Austria;  composed 
concertos,  fantasias,  etc.  for  harp, 
seeking  new  effects  and  strange 
melodies  (Voyage  d'un  harpiste  en 
Orient  contains  Greek,  Bulgarian, 
Turkish  and  other  Eastern  music). 

Parker,  Henry,  compr.,  writer,  b.  Lon- 
don, Aug.  4,  1845.  After  study  with 
Plaidy,  Moscheles,  and  Richter  at 
Leipzig  and  with  Lefort  in  Paris, 
returned  to  London,  where  he  taught 
singing,  composed,  and  conducted; 
has  written  an  opera,  Jerusalem, 
(chorus  and  bass  solo),  songs,  etc., 
and  The  Voice:  Production  and  Im- 
provement. 

Parker,  Horatio  William,  compr., 
teacher.  b.  Auburndale,  Mass., 
Sept.  15,  1863.  Pupil  of  his  mother, 
of  Emery,  Orth,  and  Chad  wick, 
and  of  Rheinberger  and  Abel  in 
Munich;  teacher  at  Cathedral 
Schools,  Garden  City,  L.  I.,  and  at 
N.  Y.  Nat'l  Cons,  under  DvoMk; 
orgt.  in  N.  Y.  and  at  Trinity  Ch., 
Boston,  1893-1901;  prof,  music  at 
Yale  Univ.  after  1894;  compr.  of 
symphony,  overtures,  church  and 
chamber  mus.,  pf.  pieces,  and  songs, 
but  chiefly  of  cantatas  (Idylle,  The 
Kobolds,  Dream  King  and  His  Love, 
Holy  Child)  and  oratorios  Hora 
Novissima,  N.  Y.,  1893,  Boston,  Cin- 
cinnati, and  Worcester,  Mass.,  festi- 
vals and  at  Three  Choirs  Festival, 
Worcester,  Eng.,  1899,  as  first  Ameri- 
can composition,  and  Legend  of  St. 
Christopher,  also  given  in  England; 
music  possesses  a  certain  "  ascetic  " 
quality  that  makes  it  interesting  to 
musicians;  at  his  best  reaches  heights 
of  dignified  beauty. 


Parker,  James  Cutler  Dunn,  orgt., 
writer,  b.  Boston,  June  2,  1828. 
Studied  law  in  Boston  and  music  in 
Leipzig;  in  Boston  after  1854; 
organized  Parker  Club  1862,  fore- 
runner of  Cecilia  Soc.;  orgt.  Trinity 
Ch.  1864-91,  of  Handel  and  Haydn 
Soc.;  prof.  Boston  Univ.  Coll.  of 
Mus.:  examiner  N.  E.  Cons.;  com- 
posed cantatas,  ch.  mus.;  translated 
Richter's  treatise  on  harmony. 

Parkina  [pseud,  of  Elizabeth  Parkin- 
son], sop.  b.  May,  1881.  Pupil  of 
Mrs.  Layton  pf  Kansas  City  and 
Mme.  Marchesi;  de"but  and  engage- 
ment Ope>a  Com.,  Paris,  1902; 
Covent  Garden  1904,  Australia  1905. 

Parmentier  (par-man-ti-a),  Mme.,  see 
Milanollo,  Teresa. 

Parratt,  Sir  Walter,  orgt.  b.  Hudders- 
field,  Feb.  10,  1841.  Pupil  of  father; 
appointment  as  orgt.  at  11,  and 
later  ones  at  Wigan,  Magdalen  Coll., 
Oxford  (and  condr.  of  various  socie- 
ties), and  since  1882  at  St.  George's 
Chapel,  Windsor;  1883  prof.  Royal 
Coll.  Mus.;  Mus.  D.  Oxford  1894, 
succeeded  Sir  Hubert  Parry  as  prof, 
mus.  Oxford  Univ.  1908;  master  of 
mus.  and  orgt.  to  Victoria  and 
Edw.  VII;  composed  anthems,  etc., 
contributor  to  Grove's  Diet.;  ex- 
traordinary performer.  (See  Musical 
Times,  1902.) 

Parry,    Sir   Charles  Hubert  Hastings, 

compr.,  writer.  b.  Bournemouth, 
Eng.,  Feb.  27,  1848.  Pupil  of  Elvey; 
while  at  Eton,  took  Mus.  B.  at 
Oxford,  where  later  he  studied  with 
Bennett  and  Macfarren,  with  lessons 
outside  from  Dannreuther  and  Pier- 
son;  compr.  chiefly  of  choral  music 
of  original  depth  and  sincerity 
(setting  of  Shelley's  Prometheus 
1880,  oratorio  Job  1892,  etc.); 
choragus  1883,  and  prof,  of  mus. 
1900-1908  Oxford  Univ.;  1894 
director  Royal  Coll.  Mus.;  has 
written  Studies  of  Great  Composers, 
Evolution  of  The  Art  of  Mus., 
Seventeenth  Century  in  Oxford  His- 
tory of  Music;  critical  works  through- 
out are  distinguished  by  clear  treat- 
ment that  makes  them  intelligible 
even  to  lay  readers;  his  music,  on 
the  other  hand,  seems  to  appeal 
more  to  trained  ears;  it  is  note- 
worthy for  elaborate  development  of 


PARSONS 


PAUER 


themes,  conciseness  of  form,  and, 
in  choral  works,  for  faithfulness  of 
accentuation  and  great  power  of 
climax. 

Parsons,  Albert  Ross,  orgt.  b.  San- 
dusky,  O.,  Sept.  16,  1847.  Pupil  of 
Ritter  in  N.  Y.,  Moscheles,  Reinecke, 
etc.  at  Leipzig  Cons.,  of  Tausig, 
Kullak,  etc.  at  Berlin;  orgt.  in  N.  Y. 
since  1871;  translator  of  Wagner's 
Beethoven,  Lessmann's  Liszt,  edited 
Kullak's  works  of  Chopin;  composed 
songs,  etc. 

Pasdeloup  (pa-de"-lo),  Jules  Etienne, 
condr.  b.  Paris,  Sept.  15,  1819;  d. 
Fontainebleau,  Aug.  13,  1887.  Pupil 
at  Cons,  of  Laurent  and  Zimmer- 
mann;  re"pe"titeur  there  in  solfeggio 
1841,  teacher  of  pf.  1847-50,  of 
ensemble  singing  1855-^68;  founded 
society  of  Cons,  pupils  1851  for 
giving  symphony  concerts;  1861, 
with  same  orch.,  opened  Concerts 
populaires,  where  he  gave  admirable 
concerts,  including  many  new  works, 
until  1884;  unsuccessful  manager  of 
Th.  Lyrique  1868-69;  tried  to  revive 
concerts  in  vain  1886. 

Pasmore,  Henry  Bickford,  orgt.,  teacher, 
b.  Jackson,  Wis.,  June  27,  1857. 
Studied  voice,  and  organ  with  J.  P. 
Mbrgan  in  Oakland,  Cal.,  with 
Jadassohn,  Reinecke,  and  Unger- 
Haupt  in  Leipzig,  with  Shakespeare 
and  Cummings  in  London;  orgt.  in 
San  Francisco,  and  prof,  of  singing 
at  Univ.  of  Pacific;  composed  march, 
overture,  masses,  songs,  etc. 

Pasquini  (pas-que'-nl),  Bernardo,  orgt. 
b.  Massa  di  Valdinevole,  Tuscany, 
Dec.  8,  1637;  d.  Rome,  Nov.  22, 
1710.  Pupil  of  Vittori  and  Cesti  and 
teacher  of  Durante  and  Gasparini; 
orgt.  Sta.  Maria  Maggiore;  chamber 
musician  to  Prince  Borghese;  com- 
posed 2  operas,  oratorio,  pieces  for 
clavichord. 

Pasta  (pas'-ta),  Giuditta  [nee  Negri], 
dram.  sop.  b.  Saronno,  near  Milan, 
Apr.  9,  1798;  d.  villa  on  Lake  Como, 
Apr.  1,  1865.  Pupil  of  Asioli  at 
Milan  Cons.;  d6but,  1815,  followed 
by  unsuccessful  appearances  in  Italy, 
London,  and  Paris;  after  further 
study  with  Scappa,  reappeared  Ven- 
ice 1819,  and,  after  1822  in  Paris  and 
1824  in  London,  was  very  successful 
in  both  cities  and  again  in  Italy; 


after  retiring  in  1829,  reappeared 
St.  Petersburg  1840,  and  London 
1850,  with  no  success;  voice  was 
strong  but  heavy  and  often  not 
clear  when  she  first  began  to  sing, 
but  unusually  penetrating  and  ex- 
pressive. 

Patey,  Janet  Monach  [nee  Whytock], 
contralto,  b.  London,  May  1,  1842; 
d.  Sheffield,  Feb.  28,  1894.  Pupil  of 
Wass,  Mrs.  Sims  Reeves,  and  Pin- 
suti;  member  of  Leslie's  choir;  on 
provincial  tour  married  John  P., 
bass,  (1835-1901);  succeeded  to 
Mme.  Sainton-Dolby's  position  as 
leading  contralto  at  the  chief  Eng- 
lish concerts  and  festivals. 

Patti,  Adelina  Adela  Juana  Maria, 
soprano,  b.  Madrid,  Feb.  10,  1843. 
Pupil  of  father  Salvatore  P.,  tenor, 
and  her  mother  Caterina  Chiesa, 
dram,  sop.,  of  half-brother  E.  Barili, 
and  of  Maurice  Strakosch,  husband 
of  her  sister  Amalia,  under  whose 
direction  she  sang  at  concerts  in 
N.  Y.  in  early  fifties,  making  operatic 
de"but  there  in  1859;  de"but  London 
1861,  Paris  1862;  1861-84,  '85,  '87  at 
Covent  Garden;  voice  of  remark- 
able compass,  flexibility  and  sweet- 
ness; especially  good  as  Rosina  in 
II  Barbiere;  as  concert  singer  has 
also  won  praise,  even  on  last  of 
several  farewell  tours  1906;  married 
Marquis  de  Caux  1868,  Ernest 
Nicolini  1886,  and  Baron  Cederstrom 
1899;  lives  at  Craig  Y  Nos,  in  Wales. 

Pattison,  John  Nelson,  pst.  b.  Niagara 
Falls,  N.  Y.,  Oct.  22,  1845.  Pupil  of 
Liszt,  Thalberg,  Henselt,  Von  Billow, 
Haupt;  concert  pst.,  on  tours  with 
Parepa-Rosa,  Kellogg,  etc.;  com- 
posed Niagara,  symph.  for  orch. 
and  military  band;  many  agreeable 
pf.  pieces. 

Pauer  (pow'-er),  Ernst,  pst.,  teacher, 
b.  Vienna,  Dec.  21,  1826;  d.  Jugen- 
heim,  May  9,  1905.  Pupil  of  Dirzka, 
Mozart's  son,  Wolfgang  A.  M.,  and 
Sechter,  and  of  F.  Lachner  in 
Munich;  director  mus.  societies  at 
Mayence  1847-51;  success  of  per- 
formances in  London  led  him  to 
settle  there  1851;  1859-64  prof,  at 
Royal  Acad.  Mus.,  and  1876  at  Nat'l 
Training  Sch.,  1883  at  Royal  Coll. 
Mus. ;  1861  began  series  of  historical 
recitals  of  pf.  music  in  chronological 


PAUL 


PENFIELD 


order,  and  1871  lectures  on  hist,  of 
pf.  mus.;  these  and  his  published 
collections,  Alte  Claviermusik,  Old 
English  Composers,  etc.,  have  won 
conspicuous  praise;  primer  on 
Musical  Forms,  etc.,  and  some  com- 
positions; retired  to  Germany  1896. 
His  son  Max,  pst.  b.  London,  Oct. 
31,  1866.  Pupil  of  father,  of  V. 
Lachner;  prof.  Cologne  Cons.  1887. 
at  Stuttgart  Cons.  1897;  successful 
concert  player,  compr.  of  pf.  pieces, 
arranger  of  Mozart  and  Haydn 
symphonies. 

Paul  (powl),  Oskar,  writer,  b.  Frei- 
waldau,  Apr.  8,  1836;  d.  Leipzig, 
Apr.  18,  1898.  Student  of  theology 
at  Leipzig  Univ.  and  of  music  at 
Cons,  with  Hauptmann,  Richter, 
and  Plaidy;  after  living  elsewhere, 
returned  to  Leipzig  as  lecturer  1866; 
translated  Boethius,  wrote  Lehrbuch 
der  Harmonik,  and  authoritative 
Geschichte  des  Claviers;  founded 
Musikalisches  Wochenblatt. 

Paumann  (pow'-man),  Conrad,  orgt. 
b.  Nuremberg,  about  1410;  d. 
Munich,  Jan.  25,  1473.  Blind  from 
birth;  adopted  and  educated  by 
burgher  Grundherr;  orgt.  Nurem- 
berg 1446,  at  Munich  after  1467; 
wrote  (1452)  Fundamentum  organ- 
isandi,  with  exercises,  one  of  ear- 
liest attempts  at  purely  instrumental 
comp. 

Paur  (powr),  Emil,  condr.  b.  Czerno- 
witz,  Bukovina,  Aug.  29,  1855.  As 
father's  pupil  on  vln.  and  pf.,  ap- 
peared at  8;  studied  at  Vienna  Cons, 
with  Dessoff  and  Hellmesberger;  vlt. 
in  court  orch.  1870;  condr.  at 
Kassel  1876,  Konigsberg,  Mannheim 
1880,  Leipzig  Stadt  Th.  1891,  Bost. 
Symph.  Orch.  1893-98,  of  N.  Y. 
Philharmonic  1898-1903;  director 
Nat'l  Cons.  N.  Y.  1899-1903;  condr. 
of  concerts,  Berlin,  Madrid,  and 
London,  of  Pittsburg  Symphony 
Orch.  1904-10;  as  condr.  aims 
rather  to  bring  out  emotional  con- 
tent of  music  than  to  make  clear 
structural  form. 

Payne,  John  Howard,  dramatist,  b. 
New  York,  June  9,  1792;  d.  Tunis, 
Apr.  10,  1852.  While  schoolboy 
and  student  at  Union  Coll.,  edited 
and  published  periodicals;  d6but  on 
stage,  N.  Y.,  1809;  lived  in  London 


and  Paris  1809-1832,  where  he  knew 
prominent  men  of  the  time;  wrote 
words  to  Home,  Sweet  Home  in  text 
of  Clari,  or  the  Maid  of  Milan 
(music  by  H.  R.  Bishop,  after  Sici- 
lian air);  returned  to  U.  S.  1832; 
consul  at  Tunis  after  1841. 

Peace,  Albert  Lister,  orgt.  b.  Hudders- 
field,  Eng.,  Jan.  26,  1844.  Ex- 
traordinarily precocious;  orgt.  at  9; 
pupil  of  Horn  and  of  Parratt;  orgt. 
at  church  in  Glasgow  1866,  1870  at 
Univ.,  1879  at  cathedral;  1875  Mus. 
Doc.  Oxford;  1897  succeeded  Best 
at  St.  George's  Hall,  Liverpool; 
compr.  of  cantata  and  org.  mus.; 
edited  Scottish  Hymnal  1885. 

Pearce,  Charles  William,  compr.,  writer. 
b.  Salisbury,  Dec.  5,  1856.  Pupil  of 
Aylward,  Hoyte,  E.  J.  Hopkins,  etc.; 
Mus.  Doc.  Cambridge  1884;  orgt. 
Salisbury  and  London;  prof,  of 
organ  and  comp.  1882  and  dean 
1892  Trinity  Coll.,  London;  exam- 
iner Cambridge  1888-91;  lectured 
on  plain  song,  etc.;  composed 
choral  and  church  music,  organ 
pieces,  exercises  in  vocal  training. 

Pearsall,  Robert  Lucas  de,  compr.  b. 
Clifton,  Mar.  14,  1795;  d.  Schloss 
Wartensee,  Lake  Constance,  Aug.  5, 
1856.  Practised  law  until  1825 
when,  abroad  for  his  health,  studied 
music  with  Panny,  and  later  with 
Ett  at  Munich;  1842  settled  at 
Wartensee;  composed  madrigals  and 
choral  works  (O  who  will  o'er  the 
downs  so  free?,  Sir  Patrick  Spens,  in 
10  parts,  etc.);  part  editor  of  old 
Catholic  song  book,  writer  of  essays 
(study  on  fifths  and  octaves,  etc.). 

Pearson,  H.  H.,  see  Pierson. 

Pease,  Alfred  Humphries,  pst.,  compr. 
b.  Cleveland,  O.,  May  6,  1838;  d. 
St.  Louis,  Mo.,  July  13,  1882. 
Pupil  of  Kullak,  Von  Billow,  Wiierst, 
and  Wieprecht  at  Berlin;  after  3 
years'  study  in  America,  went  on 
long  pf.  tours;  composed  concerto, 
Andante  for  orch.,  etc.;  works  per- 
formed by  Thomas  Orch. 


Pendleton,   Mrs.  W.  F., 
Lillian. 


Blauvelt, 


Penfield,  Smith  Newell,  orgt.  b.  Ober- 
lin,  O.,  Apr.  4,  1837.  Pupil  of  Flint 
in  N.  Y.,  of  Moscheles,  Hauptmann, 


PEPPERCORN 


PERSIAN! 


etc.  in  Leipzig;  founder  of  Mozart 
Club  and  Cons,  at  Savannah,  Ga., 
of  Arion  Cons.,  Brooklyn;  orgt.  in 
N.  Y.  since  1882;  composed  string 
quintet,  anthems,  pf.  mus.,  songs, 
etc. 

Peppercorn,  Gertrude,  pst.  b.  West 
Horsley,  Surrey,  Dec.  1,  1878.  Pupil 
at  Royal  Acad.  of  Matthay;  gained 
several  prizes;  appeared  in  Edin- 
burgh about  1895;  great  success 
in  London,  Nov.  1907;  in  U.  S. 
1908. 

Pepusch  (pa'-push),  John  Christopher, 
compr.  b. Berlin ,  1 667 ;  d .  London ,  July 
20, 1752.  Pupil  for  one  year  of  Kling- 
enberg  and  Grosse;  early  talents 
hampered  by  poverty;  appoint- 
ment at  Prussian  court  1681-97; 
vlt.,  cembalist,  compr.  at  Drury 
Lane  Theatre,  London,  after  1700; 
with  others  founded  Acad.  of  Antient 
Mus.;  director  of  Lincoln's  Inn 
Theatre,  where  he  composed  and 
arranged  music  for  many  plays  (Beg- 
gar's Opera,  etc.);  orgt.  at  Charter- 
house; published  treatises  on  har- 
mony and  ancient  music,  on  which 
he  was  authority. 

Perabo  (par'-a-bo),  Johann  Ernst,  pst. 
b.  Wiesbaden,  Nov.  14, 1845.  Family 
moved  to  N.  Y.  1852;  studied  at 
Hamburg  with  Andersen,  and  at 
Leipzig  Cons,  with  Moscheles, 
Richter,  etc.;  after  giving  concerts 
in  West,  settled,  1866,  in  Boston, 
where  he  has  since  been  known  as 
performer  and  able  teacher,  compr. 
of  pf.  music  and  songs. 

Pergolesi  (par-go-la'-zi),  Giovanni  Bat- 
tista,  compr.  b.  Jesi,  near  Ancona, 
Jan.  3,  1710;  d.  Pozzuoli,  near 
Naples,  Mar.  16,  1736.  Pupil  at 
Naples  of  Greco,  Durante,  Feo,  and 
Matteis  (vln.) ;  early  operas  not  suc- 
cessful; composed  30  sonatas  for  2 
vlns.  and  bass,  and  mass;  produced 
La  serva  padrona  1732,  only  surviv- 
ing opera,  for  many  years  standard 
of  amusing  intermezzo,  and  during 
the  contest  of  tastes  in  Paris,  was 
regarded  as  typifying  all  character- 
istic traits  of  Italian  music;  at  first 
production  it  was  not  more  suc- 
cessful than  other  operas  and  P. 
retired  in  disappointment;  Stabat 
Mater  often  sung,  composed  just 
before  death. 


Peri  (pa'-rl),  Jacopo,  compr.  b. 
Florence,  Aug.  20,  1561;  d.  there, 
about  1630.  At  house  of  Bardi,  he, 
with  others,  in  endeavor  to  reestab- 
lish declamation  of  Greek  drama, 
discovered  modern  recitative;  Cac- 
cini  made  earliest  application  of 
discovery,  but  Peri's  Dafne,  1594, 
was  first  work  really  worthy  of 
name  of  opera;  (Cavalieri's  Rap- 
presentazione  di  anima  e  di  corpo 
was  first  performed  in  public);  P's 
Euridice,  1600,  was  his  greatest 
success,  and  apparently  his  final 
attempt  in  operatic  form. 

Perkins,  Henry  Southwick,  condr.  b. 
Stockbridge,  Vt.,  Mar.  20.  1833. 
Pupil  in  Boston  of  Baker,  Wether- 
bee,  etc.;  pres.  Iowa  Normal  Acad. 
Mus.  1867-71,  prof.  mus.  Iowa 
State  Univ.  1867-68;  pres.  of 
Kansas  Normal  Acad.  1870-74; 
founder  Chicago  Nat'l  Coll.  of  Mus. 
1890;  conducted  many  festivals, 
conventions,  etc. ;  edited  song  books. 

Perosi  (pa-ro'-ze),  Lorenzo,  compr.  b. 
Tortona,  Italy,  Dec.  23,  1872. 
Studied  with  Saladino,  and  at  Milan 
Cons.,  and  at  Haberl's  school  for 
church  music  in  Ratisbon;  maestro 
di  cappella  at  Imola,  and  1897  at 
St.  Mark's,  Venice;  chorus  director 
at  St.  Peter's,  Rome,  since  1898 
priest;  compr.  of  trilogy  of  ora- 
torios La  passione  di  Cristo,  per- 
formed 1897  with  sensational  suc- 
cess; honorary  maestro  Papal  Choir 
1898;  has  composed  15  masses,  org. 
mus.,  and  other  oratorios  (La  trans- 
figurazione,  Mose);  especially  popu- 
lar in  Italy,  but  even  there  later 
works  arouse  less  enthusiasm. 

Perry,  Edward  Baxter,  pst.  b.  Haver- 
hill,  Mass.,  Feb.  14,  1855.  Blind 
from  youth;  pupil  of  J.  W.  Hill, 
and  in  Germany  of  Kullak,  Mme. 
Schumann,  Pruckner,  and  Liszt; 
gave  some  1200  concerts  in  10  years; 
originated  the  lecture  recital;  author 
of  Descriptive  Analyses  of  Piano 
Works,  etc.,  helpful  if  sometimes 
over-sentimental  interpretations;  has 
done  much  to  increase  appreciation 
of  good  music. 

Persiani  (par-si-a'-ne),  Fanny,  dram, 
sop.  b.  Rome,  Oct.  4,  1812;  d. 
Passy,  May  3,  1867.  Pupil  of  father, 
Niccolo  Tacchinardi;  married,  1830, 


PESSARD 

compr.  Giuseppe  P.  (1804-1869); 
de"but  Leghorn  1832;  engaged  at 
various  Italian  cities;  after  de"but 
in  Paris,  1837, and  London,  1838,  won 
great  success  in  both  capitals,  until 
1848;  sang  in  1858  but  with  less 
success;  voice  was  thin,  liable  to 
sharpness,  but  managed  with  per- 
fect finish;  Donizetti  wrote  Lucia 
for  her. 

Pessard  (pes'-sar'),  Emile  Louis  For- 
tune, compr.  b.Montmartre,  May  28, 
1843.  Studied  at  Paris  Cons,  with 
Bazin,  Laurent,  Carafa,  etc.;  Grand 
prix  de  Rome  1866;  inspector  of 
singing  in  Paris  schools,  director  of 
music  at  establishment  of  Legion  of 
Honor,  prof,  of  harm,  at  Cons,  since 
1881;  composed  several  operas 
(Capitaine  Fracasse,  La  dame  de 
trefle,  etc.)  and  pf.  pieces  of  value. 

Petersilea  (pa-ter-sll'-ea),  Carlyle,  pst., 
teacher,  b.  Boston,  Mass.,  Jan.  18, 
1844;  d.  Tropico,  Cal.,  June  11, 
1908.  Studied  with  father,  with 
Moscheles,  Hauptmann,  etc.  at 
Leipzig  Cons.;  played  in  Germany; 
founded  P.  Acad.  of  Mus.,  Boston, 
1871;  pf.  teacher  N.  E.  Cons.  1886; 
went  to  California  1892;  published 
technical  exercises,  method,  etc. 

Petrucci  (pe-trut'-che),  Ottaviano  dei, 

printer,  b.  Fossombrone,  June  18, 
1466;  d.  there,  May  7, 1539.  Estab- 
lished at  Venice  1491;  1498  received 
sole  privilege  for  20  years  of  print- 
ing music;  1513  at  Fossombrone, 
similar  privilege  within  Papal  States 
for  15  years;  used  two  impressions, 
printing  first  lines  and  then  the 
notes;  his  works  beautiful  examples 
of  earliest  typography,  many  of 
them  extant  in  great  libraries, 
chiefly  masses  and  motets. 

Petschnikoff  (petch'-ni-kof),  Alexan- 
der, vlt.  b.  Jeletz.  Russia,  Feb.  8, 
1873.  Pupil  of  Hrimaly;  precocious 
talent  at  Moscow  Cons,  gained  dis- 
tinguished patronage  for  him;  tours 
in  Germany  1875-^76,  to  America, 
London,  etc.;  skilful  player,  but 
with  some  mannerisms. 

Pfeiffer  (fa-far),  Georges  Jean,  pst. 
b.  Versailles,  Dec.  12,  1835;  d.  Feb. 
14,  1908.  Pupil  of  mother  (who 
was  a  pupil  of  Kalkbrenner),  of 
Maleden  and  Damcke;  success  in 


PHILIDOR 

Paris  and  London  playing  own  con- 
certos; also  composed  symph., 
symph.  poem,  songs,  and  several 
operas  (Le  legataire  universel,  1901, 
much  the  best);  also  partner  in  pf. 
firm  of  Pleyel,  Wolff  &  Co.,  as  was 
his  father. 

Pfeil  (pfll),  Heinrich,  editor,  b.  Leip- 
zig, Dec.  18,  1835;  d.  there,  April  17, 
1899.  Self-taught;  at  first  book- 
seller; edited  Sangerhalle  1862-87, 
Dorfanzeiger  1891-96;  composed 
male  choruses,  wrote  small  treatises 
on  hist,  of  mus.  etc. 

Pfitzner,  Hans  Erich,  compr.  b.  Mos- 
cow, May  5,  1869.  Pupil  of  father, 
condr.  at  Frankfort,  and  of  Kwast  and 
Knorr,  at  Hoch  Cons,  there;  taught 
Coblenz  Cons.  1892-93;  condr.  of 
Mayence  Th.  1894-95;  3d  capell- 
meister  Mannheim  1895-96;  teacher 
at  Stern  Cons.  1897,  dir.  Stuttgart 
Cons.  1907;  condr.  at  Berlin  Th.; 
operas  Der  arme  Heinrich,  1895,  and 
Die  Rose  vom  Liebesgarten,  1901, 
very  successful,  have  given  him 
distinctive  position  among  younger 
extreme  German  comprs.;  with 
modern  skill,  he  preserves  a  romantic 
attitude. 

Phelps,  Ellsworth  C.,  orgt.  b.  Middle- 
town,  Conn.,  Aug.  11,  1827.  Self- 
taught;  orgt.  and  teacher  New 
London  1846,  Syracuse,  New  York, 
and  Brooklyn  since  1857;  over  30 
years  teacher  in  public  schools; 
composed  sacred  opera  David, 
symph.  Hiawatha,  pieces  for  mili- 
tary band,  etc. 

Philidor  [properly  Danican],  Frangois 
Andre,  compr.  b.  Dreux,  Sept.  7, 
1726;  d.  London,  Aug.  31,  1795. 
Of  musical  family,  several  members 
of  which  played  wind  instr.  in 
royal  band  (name  P.  was  given  to 
great  uncle  by  Louis  XIII);  pupil 
of  Campra;  at  first  distinguished  as 
chess  player  at  Aix  and  in  London 
1749,  and  author  of  book  on  chess; 
1754  recalled  to  Paris;  1759-1796 
produced  about  25  operas  (Le  mare- 
chal,  Tom  Jones,  Ernelinde,  etc.); 
extremely  popular  but  no  longer 
played;  P.  was  first  to  introduce 
unaccompanied  quartet,  and  first 
to  be  called  forward  after  presenta- 
tion of  opera. 


PHILIPP 


PIRANI 


Philipp  (fil-ip),  Isidor  Edmund,  pst., 
teacher,  b.  Budapest,  Sept.  2,  1863. 
Pupil  at  Paris  Cons,  of  Mathias  (1st 
pf.  prize  1883)  and  later  of  Heller, 
Saint-Saens,  and  Ritter;  played  in 
London  1890,  has  appeared  regu- 
larly at  Paris  concerts;  established 
chamber  concerts  1890,  concerts  of 
wind  instruments  1896-1901;  prof, 
at  Cons,  since  1893;  published  pf. 
mus.,  effective  arrangements  and 
valuable  studies  based  on  Chopin, 
Beethoven  and  Bach. 

Phillips,  Adelaide,  dram.  alto.  b. 
Stratford-on-Avon,  Eng.,  1833;  d. 
Carlsbad,  Oct.  3,  1882.  Family 
came  to  Boston  1840;  pupil  of  her 
mother  as  dancer,  appeared  1842; 
by  subscription,  started  by  Jenny 
Lind,  studied  with  Garcia  and  in 
Italy;  d6but  Milan  1854;  sang 
Boston  1854,  N.  Y.  1856  (Am. 
operatic  d6but),  1861  Havana,  Paris, 
Spain,  etc.;  member  Boston  Ideal 
Co.  from  1879;  last  stage  appear- 
ance 1881. 

Piatti  (pe-at'-te),  Carlo  Alfredo,  'cellist, 
b.  Bergamo,  Jan.  8,  1822;  d.  Cro- 
cetta  di  Nozzo,  near  Bergamo,  July 
19.  1901.  Son  of  vlt.  Antonio  P. 
(1801-1878);  pupil  of  great-uncle 
Zanetti,  and  at  Milan  Cons.;  de*but 
1837  with  own  concerto;  played  in 
th.  orch.  and  on  roving  tours,  on  one 
of  which  he  played  with  Liszt;  1844 
went  to  Paris  and  London,  where, 
1849,  he  became  'cellist  at  Italian  op. 
and  at  Popular  Concerts;  retired 
1898;  master  of  'cello  as  Joachim 
of  vln.;  very  many  pupils;  compr., 
especially  of  6  sonatas  for  'cello. 

Piccini  [Piccinni],  (pit-che'-ne),  Nicolo, 
compr.  b.  Bari,  Jan.  16,  1728;  d. 
Passy,  near  Paris,  May  7,  1800. 
Pupil  at  Naples  Cons,  of  Leo  and 
Durante;  early  operas  successful 
despite  vogue  of  Logroscino's;  La 
cecchina,  1760,  most  popular;  1762 
wrote  6  operas  in  one  year;  dis- 
couraged by  preference  of  public  for 
work  of  Anfossi's,  P.,  after  illness, 
produced  /  viaggiatori  at  Naples; 
1776,  on  invitation,  removed  to 
Paris  and  produced  Roland,  1778; 
supporters  of  Italian  opera  used  P., 
against  his  wish,  as  leader  in 
pamphlet  war  against  Gluck  and  his 
reforms  (dramatic  declamation  and 


more  consistent,  elaborate  orches- 
tration); also  forced  into  rivalry 
with  Sacchini;  principal  teacher  in 
mus.  school;  at  Revolution  returned 
to  Naples,  where  he  spent  four  years 
under  arrest  for  political  reasons, 
and,  though  later  feted  and  pen- 
sioned in  Paris,  lived  in  great 
poverty. 

Piccolomini,  see  Pontet,  Henry. 

Pierne  (pi-ar'-na),  Henri  Constant 
Gabriel,  compr.  b.  Metz,  Aug.  16, 
1863.  Studied  at  Paris  Cons,  with 
Marmontel,  Ce'sar  Franck,  and  Mas- 
senet; Grand  prix  de  Rome  1882;  fol- 
lowed Franck  as  orgt.  of  Ste.  Clo- 
thilde  1890-98;  composed  several 
operas  (Tabarin,  etc.),  and  music  for 
plays,  symph.  poem  with  chorus 
L'An  mil,  cantata  Croisade  des 
enfants  widely  produced,  numerous 
songs  and  pf.  pieces;  influences  of 
Franck  and  Massenet  contend  in  his 


Pierson  [originally  Pearson],  Henry 
Hugo,  compr.  b.  Oxford,  Apr.  12, 
1815;  d.  Leipzig,  Jan.  28,  1873. 
Pupil  of  Attwood  and  Corfe,  and  of 
Rinck,  Tomaschek,  and  Reissiger; 
prof,  at  Edinburgh  Univ.  1844;  lived 
after  1845  in  Vienna,  Hamburg, 
and  Leipzig;  composed  several 
operas,  oratorios  (music  to  Faust), 
songs  and  part-songs  (The  Mariners 
of  England,  etc.). 

Pinsuti  (pin-su'-ti),  Giro,  teacher,  compr. 
b.  Sinalunga,  Florence,  May  9,  1829; 
d.  Florence,  Mar.  10,  1888.  Member 
of  Roman  Accademia  Filarmonica 
at  11;  taken  to  England,  became 
pupil  of  Potter  and  Blagrove;  1845- 
47  pupil  of  Rossini  at  Bologna;  after 
1848  taught  in  London,  at  Royal 
Acad.  after  1856;  Grisi,  Patti  and 
Mario  among  pupils;  brought  out 
several  operas  in  Italy,  received 
many  honors  there;  also  composed 
Engh'sh  and  Italian  songs. 

Pirani  (pl-ra'-nl),  Eugenio,  pst.,  compr. 
b.  Bologna,  Sept.  8,  1852.  Studied 
at  Bologna  with  Golinelli,  at  Berlin 
with  Kiel  and  Kullak,  at  whose 
Acad.  he  taught  187^80;  after  ex- 
tended tours,  lived  in  Heidelberg 
and  Berlin  after  1895;  correspondent 
for  musical  papers;  composed  symph. 
poem,  ballet,  concert  studies,  etc. 


piSTOCcm 

Pistocchi  (pis-tok'-ki),  Francesco  An- 
tonio Mamiliano,  teacher,  compr.  b. 
Palermo,  1659;  d.  Bologna,  May 
13,  1726.  Chorister  at  Bologna; 
precocious  compr.  (first  work  pub- 
lished at  8);  pupil  of  Perti,  Vas- 
tamigli,  and  Monari;  operatic  singer 
after  1675;  capellmeister  in  Ansbach 
1696;  soon  after  return  to  Bologna 
1700,  founded  first  systematic  school 
of  singing;  composed  operas,  ora- 
torios, Scherzi  musicali  (songs), 
duets,  etc. 

Pitoni  (pl-to'-nl) ,  Giuseppe  Ottavio,  com- 
pr. b.Rieti,  Mar.  18, 1657;  d.  Rome, 
Feb.  1,  1743.  Chorister  at  Rome 
and  pupil  of  Foggia;  maestro  di  cap- 
pella  at  Terra  di  Rotondo,  at  Assisi, 
at  Rieti,  and  at  Collegio  di  S.  Marco, 
Rome,  and  at  same  time  in  several 
churches,  finally  1719  at  St.  Peter's; 
taught  Durante,  Leo,  and  Feo; 
composed  masses  on  popular  airs, 
very  many  services  (enough  for  one 
year  at  St.  Peter's),  and  many 
motets,  not  published  until  after 
his  death. 

Pitt,  Percy,  compr.  b.  London,  Jan.  4, 
1870.  Educated  in  France,  studied 
music  in  Leipzig  1886-88,  with  Rein- 
ecke  and  Jadassohn,  and  in  Munich 
1888-91  with  Rheinberger;  chorus- 
master  Motet  Concerts  in  London 
1895,  orgt.  at  Queen's  Hall  1896, 
adviser  and  occasional  condr.  Covent 
Garden  1902;  excellent  program 
analyses;  composed  incidental  mus. 
to  Paolo  and  Francesca,  Flodden 
Field,  and  Richard  II,  overture, 
suites,  an  oriental  rhapsody,  coro- 
nation march,  songs  for  voice  and 
orch. 

Pizzi  (pit'-ze),  Emilio,  compr.  b.  Feb. 
2,  1862.  Pupil  of  Ponchielli  and 
Bazzini  at  Milan  Cons.;  took  prizes 
at  Milan  and  Bologna  for  operas, 
at  Florence  for  quartets;  director 
music  school  at  Bergamo  and  maes- 
tro di  cappella  1897;  composed  operas 
especially  for  Patti,  Gabriella  (Bos- 
ton, 1893)  and  Rosalba. 

Plaidy  (pla'-dl),  Louis,  pf.  teacher,  b. 
Wermsdorf,  Saxony,  Nov.  28,  1810; 
d.  Grimma,  Mar.  3,  1874.  Pupil 
of  Agthe  on  pf.  and  Haase  on 
vln.;  member  of  Leipzig  Orch.; 
studied  pf.  technic;  1843  invited 


PLEYEL 

by  Mendelssohn  to  teach  at  Cons.; 
private  lessons  after  1865;  very 
remarkable  gift  for  teaching  technic 
benefited  many  pupils;  his  Tech- 
nische  Studien  is  still  standard;  also 
published  Der  Klavierlehrer  (the  pf. 
teacher's  guide). 

Plangon  (plon-son),  Pol  Henri,  dram, 
bass.  b.  Fumay,  Ardennes,  June  12, 
1854.  Pupil  of  Duprez  and  later  of 
Sbriglia;  de"but  Lyons  1879;  Grand 
Op^rn,  Paris,  1883-93;  London  for 
13  seasons;  favorite  there  and  in 
N.  Y. 

Planquette  (plon-kef),  Jean  Robert, 
compr.  b.  Paris,  July  31,  1848;  d. 
there,  Jan.  28,  1903.  Pupil  of  Du- 
prato  at  Cons.;  composed  songs  and 
saynetes  for  cafes-concerts;  first  oper- 
etta 1874,  and  thereafter  consider- 
able success  as  opera  compr.,  es- 
pecially with  Les  cloches  de  Corne- 
ville,  1877,  very  popular  in  England 
and  America  as  The  Chimes  of  Nor- 
mandy; also  composed  Surcouf,  The 
Old  Guard,  Paul  Jones,  etc. 

Plante  (plon-ta),  Francis,  pst.  b. 
Orthez,  Basses-Pvre'n^es,  Mar.  2, 
1839;  d.  Pfrigueux,  July,  1898. 
Pupil  at  Paris  Cons,  of  Marmontel, 
1st  prize  1849;  pst.  in  trios  with 
Alard  and  Franchomme;  pupil  at 
Cons,  again,  1853,  under  Bazin  for 
comp.;  after  ten  years'  retirement, 
in  which  he  developed  his  style, 
reappeared,  1872,  as  most  finished 
pst.;  published  only  transcriptions. 

Playford,  John,  publisher,  b.  London, 
1623;  d.  there,  about  Nov.,  1686. 
Wrote  Introduction  to  the  Skill  of 
Musick,  a  few  songs;  published  nearly 
all  English  music  1648-85,  among 
others  Hilton's  Ayres,  Campion's 
Art  of  Descant,  The  whole  booke 
of  Psalms,  etc.  Son  and  successor 
Henry,  b.  May  5,  1657;  d.  about 
1710.  Published  music  of  Purcell 
and  Blow;  apparently  retired  about 
1706  or  '07. 

Pleyel  (pli'-el),  Ignaz  Joseph,  compr. 
b.  Ruppertsthal,  near  Vienna,  June  1, 
1757;  d.  near  Paris,  Nov.  14,  1831. 
Pupil  of  Wanhal  and  for  five  years 
of  Haydn;  then  in  Rome  and  Vienna; 
capellmeister  at  Strassburg  min- 
ster, position  which  he  lost  for  politi- 
cal reasons;  condr.  of  Professional 


PODBERTSKY 

Concerts  in  London  1791-92;  went 
to  Paris  1795,  where,  in  1797,  he 
established  pf.  factory,  still  flourish- 
ing as  firm  of  P.  Wolff  et  Cie.;  pro- 
lific instrumental  compr.  of  some  29 
symph.,  septet,  sextet,  five  books  of 
quintets,  45  quartets,  concertos, 
sonatas,  etc. 

Podbertsky  (pod-bert'-ski),  Theodor, 
compr.  b.  Munich,  Nov.  16,  1846. 
Director  of  Munich  Mannergesang- 
verein  and  the  Neuen  Bavaria;  liv- 
ing in  Fiirstenfeldbriick  since  1887; 
composed  popular  part-songs,  Am 
Chiemsee,  Friedrich  Rotbart,  Meeres- 
stille  und  gliickliche  Fahrt. 

Pohl  (pol),  Carl  Ferdinand,  writer. 
b.  Darmstadt,  Sept.  6,  1819;  d. 
Vienna,  Apr.  28,  1887.  Gave  up 
position  as  orgt.  because  of  ill  health; 
in  London  1863-66  in  research  which 
is  foundation  of  Mozart  and  Haydn 
in  London;  1866  librarian  and  archiv- 
ist to  Gesellschaft  der  Musikfreunde 
in  Vienna;  began  life  of  Haydn,  of 
which  one  vol.  (in  2  parts)  was  pub- 
lished; to  be  completed  by  Mandy- 
czewski. 

Pohlig,  Karl,  condr.,  compr.  b.  Tep- 
litz,  Feb.  10,  1864.  Pupil  of  Liszt 
at  Pesth  and  Rome;  capellm.  at 
Graz,  Hamburg,  London  (Covent 
Garden),  Koburg,  and  Stuttgart  1900 
-07;  went  to  Philadelphia  1907  to 
become  dir.  of  the  Philadelphia 
Symph.  Orch. ;  has  written  works  for 
orchestra,  songs  and  choruses. 

Pole,  William,  writer,  b.  Birmingham, 
Apr.  22,  1814;  d.  London,  Dec.  3, 
1900.  Prof,  of  civil  engineering  at 
Univ.  Coll.,  London,  1859-76;  orgt. 
in  London;  Mus.  Doc.  Oxford  1864; 
examiner  for  Lond.  Univ.  1876-90; 
composed  some  mus.;  chiefly  known 
for  analyses,  critical  essays,  The 
Story  of  Mozart's  Requiem,  and  sug- 
gestive Philosophy  of  Music,  con- 
tributor to  Grove's  Dictionary. 

Polko,  Elise  [nee  Vogel],  writer,  b. 
Wackerbarthsruhe,  near  Dresden, 
Jan.  13,  1822;  d.  Munich,  May  15, 
1899.  After  studying  with  Garcia 
appeared  at  Frankfort  as  mezzo 
soprano;  after  marriage  appeared  in 
concert  only;  lived  in  various  Ger- 
man cities;  author  of  many  novels 


PORGES 

in  which  appear  characters  of  musi- 
cal hist. ;  best  known  are  sentimental 
Musikalische  Marchen. 

Pollini  (pol-le'-nl),  Francesco  Giuseppe, 
pst.  b.  Laibach,  1763;  d.  Milan,  Sept. 
17,  1846.  Pupil  of  Mozart  and  Zinga- 
'relli;  prof,  of  pf.  at  Milan  Cons.;  dis- 
tinguished performer;  probably  origi- 
nator of  writing  pf.  mus.  on  3  staves 
in  his  32  exercizi  in  forma  di  toccata, 
in  which  he  was  followed  by  Liszt 
and  Thalberg;  composed  toccatas, 
sonatas,  variations,  etc.,  pf.  method, 
Stabat  Mater,  etc. 

Ponchielli  (pon-ki-el'-le),  Amilcare, 
compr.  b.  Paderno  Fasolare,  Cre- 
mona, Aug.  31,  1834;  d.  Milan,  Jan. 
16,  1886.  After  study  at  Milan 
Cons.,  was  orgt.  and  bandmaster; 
1856  produced  opera  /  promessi 
sposi,  most  successful  in  revised 
version,  1872;  after  that  continued 
success  with  9  others;  maestro  of 
Piacenza  Cath.  1881;  most  success- 
ful opera  Gioconda  (Milan  1876, 
London,  N.  Y.,  and  Boston  1883); 
ranked  next  to  Verdi  by  Italians. 

Popper,  David,  'cettist.  b.  Prague, 
Dec.  9,  1843.  Pupil  of  Goltermann 
at  Prague  Cons.;  after  successful 
tours  in  Germany,  1868-73,  became 
soloist  at  Vienna  Opera;  married 
pst.  Sophie  Menter,  1872  (divorced 
1886);  for  a  number  of  years  he 
held  no  official  position,  for  various 
lengths  of  time  being  in  London, 
Paris,  St.  Petersburg,  Vienna,  Berlin, 
etc.;  since  1896  prof,  in  Budapest 
Cons.;  recognized  all  over  Europe 
as  among  finest  'cellists;  has  written 
for  'cello  (popular  Sarabande  and 
Gavotte,  suites,  concertos),  string 
quartets,  and  monumental  Violon- 
cello School. 

Porges  (por'-g6s),  Heinrich,  writer. 
b.  Prague,  Nov.  25,  1837;  d.  Munich, 
Nov.  17,  1900.  Pupil  of  C.  Muller, 
Rummel,  and  Zwonaf;  editor  with 
Brendel  of  Neue  Zeitschrift  fur 
Musik  1863;  1867  called  to  Munich 
by  Ludwig  II,  editor  of  Suddeutsche 
Presse,  teacher  at  Royal  Sch.  and 
Royal  Music  director  after  1871; 
organized  P.  Gesangverein  1886; 
intimate  with  Cornelius  and  Wag- 
ner, and  the  latter's  champion  in 
many  pamphlets  and  articles. 


PORPORA 


PRAGER 


Porpora  (por-por'-a),  Nicolb  Antonio, 
compr.  b.  Naples,  Aug.  19,  1686; 
d.  there,  Feb.,  1766.  Pupil  of  Gae- 
tano  of  Perugia  and  Mancini  at 
Cons,  di  San  Loreto;  maestro  di  cap. 
to  Portuguese  ambassador;  early 
opera,  Berenice,  praised  by  Handel; 
opened  singing  school  about  1712, 
where  he  had  many  very  famous 
pupils  (Farinelli,  Senesino,  Tosi, 
etc.);  about  1721  virtuoso  to  Prince 
of  Hesse-Darmstadt;  1725  teacher 
at  Venice,  and  while  there  tried  un- 
successfully for  favor  at  Vienna;  at 
Dresden,  1728,  singing  master  to 
princess  and  maestro  at  opera,  in 
which  position  he  was  bitter  rival 
of  Hasse,  who  (1724)  had  deserted 
P.  for  lessons  from  A.  Scarlatti;  1729 
-1736  intermittently  in  London, 
where  he  directed  opposition  to 
Handel  without  great  success;  then 
lived  in  Venice,  Vienna  (where  he 
taught  Haydn),  again  at  Dresden 
(where  Hasse  began  to  gain  ground 
against  him);  returning  to  Naples 
about  1755,  became  maestro  at  the 
cathedral  and  at  Cons,  di  San  Ono- 
frio;  died  in  poverty;  operatic  music 
of  conventional  florid  style;  clavi- 
chord music  (fugues,  etc.)  of  some 
originality;  greatest  as  teacher  of 
singing. 

Porter,  Frank  Addison,  teacher,  b. 
Dixmont,  Me.,  Sept.  3,  1859.  Pupil 
at  N.  E.  Cons.  1879-84  of  Turner, 
Emery,  Chadwick,  etc.,  at  Leipzig  of 
Hofmann,  Freitag,  etc.;  prof,  of  pf. 
at  N.  E.  Cons,  since  1884;  supt.  of 
normal  course  there  since  1892;  pub- 
lished System  of  finger  technic,  noc- 
turnes, mazurka,  etc. 

Portugal  [or  Portogallo]  da  Fonseca, 
Marcos  Antonio,  compr.  b.  Lisbon, 
Mar.  24,  1762;  d.  Rio  de  Janeiro, 
Feb.  7,  1830.  Pupil  of  Borselli,  an 
opera  singer,  and  Orao,  maestro  at 
cath.;  accompanist  Madrid  opera 
1782;  after  study  in  Italy,  produced 
successful  operas  (II  Molinaro,  L'As- 
tuto,  1790);  court  condr.  at  Lisbon; 
then  in  Italy  producing  operas  in 
various  cities  to  1799  (Fernando  net 
Messico,  masterpiece  according  to 
F6tis);  1800  at  Lisbon,  1810  followed 
royal  family  to  Brazil,  continued  posi- 
tion there;  some  success  in  Germany 
and  England,  but  most  of  his  40  op- 
eras were  popular  in  Italy  and  Spain. 


Potter,  Philip  Cipriani  Hambly,  pst., 
compr.  b.  London,  Oct.  2,  1792; 
d.  there,  Sept.  26,  1871.  Studied 
with  father,  Attwood,  Callcott, 
Woelfl,  etc. ;  d6but  as  pst.  and  compr. 
1816;  studied  comp.  with  A.  Forster 
at  Vienna,  where  Beethoven  gave 
him  advice;  prof,  of  pf.  at  Royal 
Acad.  Mus.  1822;  principal  there 
1832,  resigned  1859;  composed  sona- 
tas, concertos,  two  books  of  praise- 
worthy studies;  distinguished  condr. 
of  Madrigal  Soc.  and  admirable 
performer. 

Pougin  (po-zhan),  Arthur  [real  name 
Frangois  Auguste  Arthur  Paroisse- 
Pougin],  writer.  b.  Chateauroux, 
Aug.  6,  1834.  Son  of  actor;  pupil 
of  Alard  and  Reber  at  Paris  Cons.; 
th.  vlt.;  condr.  at  several  theatres; 
member  Ope"ra  Comique  orch.  1860- 
63;  since  then  critic  for  several 
papers  (M£nestrel,  of  which  he  became 
chief  editor  after  1885,  Le  Theatre, 
etc.);  author  of  musical  articles  in 
Larousse's  Diet,  universel,  author  of 
supplement  to  F£tis's  dictionary, 
etc.,  and,  beside  many  articles,  of 
biographies  of  Bellini,  Auber,  R,a- 
meau,  Verdi,  etc. 

Powell,  Maud,  vlt.  b.  Peru,  111.,  Aug. 
22,  1868.  Mother  an  amateur 
compr.;  pupil  of  Wm.  Lewis  in 
Chicago,  of  Schradieck  in  Leipzig, 
of  Dancla  in  Paris,  and,  after  play- 
ing in  London,  of  Joachim  in  Berlin; 
d6but  there  and  in  New  York  1885; 
leader  Maud  Powell  String  Quartet 
1894;  very  distinguished  and  skilful 
player.  Married  H.  Godfrey  Turner, 
1907. 

Pradher  [rightly  Pradfcre],  (pra-dar), 
Louis  Barthelemy,  pst.,  compr.  b. 
Paris,  Dec.  18,  1781;  d.  Gray, 
Haute-Saone,  Oct.,  1834.  Pupil  of 
Gobert  and  Berton  at  Cons.,  where 
he  became  pf.  prof.  1802;  among 
pupils  Herz,  Dubois,  etc.;  retired 
1827;  published  operas  and  much 
pf.  mus.  (sonatas,  rondos,  fantasias, 
etc.). 

Prager  (prag'-er),  Ferdinand  Christian 
Wilhelin,  teacher,  b.  Leipzig,  Jan. 
22,  1815;  d.  London,  Sept.  1,  1891. 
Son  of  vlt.  Heinrich  Aloys  P.  (1783- 
1854);  pupil  of  Hummel  and  Pape; 
teacher  in  The  Hague  and  London 


PRATORIUS 


PROCH 


after  1834;  English  correspondent  for 
Schumann's  Neue  Zeitschrift,  sup- 
porter of  Wagner,  influential  in 
calling  W.  to  London  1855;  compr. 
of  symph.  poems,  pf.  mus.  (Crepus- 
cule,  etc.),  author  of  Wagner  as  I 
knew  him. 

Pratorius,  Michael,  compr.,  writer. 
b.  Kreuzberg,  Thuringia,  Feb.  15, 
1571;  d.  Wolfenbuttel,  Feb.  15, 
1621.  Capellmeister  at  Liineburg, 
orgt.  and  capellm.  to  Duke  of  Bruns- 
wick, prior  of  Monastery  of  Ringel- 
heim;  prolific  compr.  of  15  volumes 
of  Polyhymnia,  16  of  Musae  Sioniae, 
etc.;  chiefly  distinguished  as  author 
of  Syntagma  musicum,  1615-20, 
treatise,  partly  in  Latin,  partly  in 
German,  on  ecclesiastical  music,  on 
all  known  instruments  (with  very 
valuable  woodcuts)  and  styles  of 
compositions. 

Pratt,  Silas  Gamaliel,  compr.  b.  Addi- 
son,  Vt.,  Aug.  4,  1846.  Pupil  of 
Bendel,  Kullak,  Wiierst,  and  Kiel, 
and  on  later  trip,  1875,  of  Dorn 
and  Liszt;  organized  Chicago  Apollo 
Club  1871;  gave  symphony  con- 
certs, concerts  of  own  works,  his 
opera  Zenobia  1882;  pf.  prof,  at 
N.  Y.  Metropolitan  Cons.  1890; 
removed  to  Pittsburg  1907;  com- 
posed 2  operas,  2  symphonies,  can- 
tata, suites,  part-songs,  etc.,  ar- 
ranged spectacle  The  War  in  Song. 

Pratt,  Waldo  Selden,  writer,  teacher,  b. 
Philadelphia,  Nov.  10,  1857.  Grad- 
uated at  Williams  College  1878; 
Johns  Hopkins  Univ.  1878-80;  Mus. 
D.  Syracuse  Univ.  1895;  asst.  dir. 
Metropol.  Museum,  N.  Y.,  1880-82, 
registrar  Hartford  Theol.  Seminary 
1888-95;  teacher  of  elocution  Trinity 
Coll.  1891-1905;  lecturer  on  mus. 
hist,  at  Smith  Coll.  since  1895,  at 
Mt.  Holyoke  1896-99,  at  Inst.  Mus. 
Art,  N.  Y.,  1905;  orgt.  and  condr. 
of  choral  soc.  in  Hartford;  prof.  mus. 
and  hymnology  at  Hartford  Theol. 
Seminary  since  1882;  Mus.  Ed. 
Century  Dictionary,  etc.;  author  of 
Mus.  Ministries  in  the  Church,  1901, 
and  valuable  text-book  Hist,  of 
Mus.  1907. 

Prentice,  Thomas  Ridley,  pst.  b. 
Paslow  Hall,  Ongar,  Essex,  July  6, 
1842;  d.  Hampstead,  July  15,  1895. 


Pupil  of  W.  and  G.  A.  Macfarren 
at  Royal  Acad.;  taught  there:  gave 
Monthly  Popular  Concerts  at  Brixton 
1869-74;  orgt.  1872;  pf.  prof.  Guild- 
hall Sch.  1880,  at  Blackheath  Cons. 
1881;  organized  twopenny  concerts 
for  working  classes;  most  valuable 
work  The  Musician,  notes  on  pf. 
instruction  books;  composed  can- 
tata, anthems,  pf.  mus.,  etc. 

Prescott,  Oliveria  Louisa,  compr.,  writer, 
b.  London,  Sept.  3,  1842.  Pupil  at 
Royal  Acad.  Mus.  and  of  Lindsay 
Sloper,  Macfarren,  etc.;  successful 
teacher  of  harmony;  author  of  clear, 
useful  text-book,  Musical  form, 
compr.  of  2  symph.,  overtures,  pf. 
concerto,  etc.,  psalms,  cantata  Lord 
Ullin's  Daughter,  songs,  etc. 

Prevost  (pra-vo),  Eugene  Prosper,  com- 
pr., condr.  b.  Paris,  Aug.  23,  1809; 
d.  New  Orleans,  Aug.  30,  1872.  Pupil 
at  Paris  Cons,  of  Seuriot,  Jelen- 
sperger,  and  Lesueur;  Grand  prix  de 
Rome  1831;  produced  several  suc- 
cessful operettas;  condr.  at  Havre, 
at  New  Orleans  1838-1862,  then  at 
Bouffes  Parisiens  and  the  Champs 
Elyse'es;  later  compositions  unsuc- 
cessful; returned  to  New  Orleans 
1867. 

Preyer,  Carl  A.,  compr.,  teacher,  b. 
Pforzheim,  Germany,  July  28,  1863. 
Began  musical  instruction  under  a 
local  teacher  at  the  age  of  9,  contin- 
uing at  Stuttgart,  at  Vienna  under 
Navratil,  and  in  Berlin  under  Urban 
and  Barth;  began  his  professional 
career  in  1884;  after  coming  to  the 
United  States  he  became  successive- 
ly professor  of  music  in  Baker  Uni- 
versity, Baldwin,  Kas.,  1889-91, 
and  at  University  of  Kansas,  Law- 
rence, 1893,  with  which  institution 
he  is  still  connected  (1910).  His 
compositions  number  about  fifty 
mainly  for  piano  and  voice;  among 
his  works  for  piano  are  a  number  of 
fine  technical  studies  which  have 
been  well  received  by  teachers;  Mus. 
Doc.  Baker  University  1909. 

Proch  (pr6k),  Heinrich,  compr.  b. 
Bohmisch-Leipa,  July  22,  1809; 
d.  Vienna,  Dec.  18,  1878.  Studied 
vln.  and  law;  capellmeister  in 
Vienna  at  theatre,  at  court  opera 
1840-70,  of  comic  opera  1874;  many 


PROUT 


PURCELL 


famous  pupils  (Tie tj ens,  Materna, 
etc.) ;  compr.  of  very  popular  lieder 
(Von  der  Alpe  tout  das  Horn,  etc.). 

Prout,  Ebenezer,  compr.,  theorist,  b. 
Oundle,  Northamptonshire,  Mar.  1, 
1835;  d.  London,  Dec.  5,  1909.  Pf. 
pupil  of  Salaman,  otherwise  self- 
taught;  orgt.  in  several  places;  prof, 
of  pf.  Crystal  Palace  Sch.  of  Art 
1861-85;  prof,  of  harmony  and 
comp.  at  Nat'l  Training  School 
1876,  at  Royal  Acad.  1879,  at  Guild- 
hall Sch.  1884;  prof.  mus.  at  Dublin 
Univ.  1894;  editor  Monthly  Mus. 
Record  1871-74,  critic  for  Academy 
and  Athenceum;  editor  of  some  of 
Handel's  oratorios,  with  additional 
accomp. ;  most  distinguished  as  writer 
of  primer  on  Instrumentation,  and  of 
series  Harmony,  Counterpoint,  Double 
Counterpoint,  Fugue,  Mus.  Form, 
Applied  Forms,  and  The  Orchestra. 

Pruckner,  Dionys,  pst.  b.  Munich, 
May  12,  1834;  d.  Heidelberg,  Dec. 
1,  1896.  Pupil  of  Niest  and  of 
Liszt;  settled  in  Vienna  1855;  prof. 
Stuttgart  Cons.  1859,  to  reputation 
of  which  he  largely  contributed; 
court  pst.  1864;  excellent  teacher. 

Prudent  (prii-don),  Emile,  pst.  b. 
AngoulSme,  April  3,  1817;  d.  Paris, 
May  13,  1863.  Adopted  by  piano 
tuner  in  childhood;  pupil  at  Paris 
Cons,  of  Le  Couppey,  Zimmermann, 
and  Laurent;  first  performance  at 
concert  with  Thalberg,  whom  he 
closely  imitated  and  nearly  equaled; 
successful  tours  in  Germany  and 
England,  admired  as  teacher  and 
performer  in  Paris;  compr.  of  tran- 
scriptions and  salon  music,  brilliant 
but  now  out  of  fashion. 

Puccini  (poo-che'-ne),  Giacomo,  compr. 
b.  Lucca,  June  22,  1858.  Great- 
great-grandfather,  grandfather,  and 
father  all  compr.  of  church  music, 
great-grandfather  notable  theorist; 
student  at  Milan  Cons.,  on  pension 
from  queen,  under  Ponchielli;  first 
opera,  Le  Villi,  successful  1884; 
revised  the  next  year;  second,  Edgar, 
1889,  failure;  better  success  with 
Manon  Lescaut  1893;  first  triumph 
with  La  BoMme  1896;  Tosca  1900, 
continued  success,  and  Madam  But- 
terfly, though  hissed  at  first  per- 
formance, Milan,  1904,  has  since  been 
successful,  not  only  in  Italy  but 


almost  everywhere  else,  London 
1905,  New  York  and  Boston,  English 
version.  P.  is  one  of  most  popular  of 
contemporary  composers;  he  differs 
from  Mascagni  and  other  Italians 
in  seeking  for  more  than  mere  sensa- 
tion, and  from  followers  of  Wagner 
in  not  endeavoring  to  establish  any 
abstract  truth;  his  orchestration 
shows  brilliant  technic  and  vari- 
ety; his  melody,  typically  Italian  in 
its  fluency  and  somewhat  obvious 
emotionalism,  is  modern  in  its  psy- 
chological truth,  so  far  as  is  possible 
with  his  librettos,  which  have  often 
been  disconnected  melodramatic 
scenes  rather  than  artistic  creations. 

Pudor  (poo'-dor),  Heinrich,  writer,  b. 
Dresden  about  1860.  Son  of  Johann 
Friedrich  P.  (1835-1887),  proprietor 
of  Dresden  Cons.  1859-87;  suc- 
ceeded father  at  Cons,  until  1890, 
when  he  sold  out  to  E.  Krantz; 
prolific  writer,  at  first  extravagant, 
but  more  restrained  in  later  works; 
wrote  Die  alien  und  die  neuen  Wege 
in  der  Mus.,  etc. 

Pugnani  (poon-ya'-nl),  Gaetano,  vlt. 
b.  Turin,  Nov.  27,  1731;  d.  there, 
June  15,  1798.  Pupil  of  Somis  and 
Tartini;  leader  court  orchestra  Turin 
1752;  long  tours  after  1754  to  Paris 
and  London,  where  he  conducted 
opera  orch.  and  produced  opera; 
1770  at  Turin  established  vln.  school; 
among  pupils  Viotti,  Polledro,  etc.; 
composed  9  concertos  (only  1  pub- 
lished), chamber  music. 

Pugno  (pu-no),  Stephane  Raoul,  pst. 
b.  Montrouge,  Seine,  France,  June 
23,  1852.  Pupil  at  Niedermeyer  Sch. 
and  Paris  Cons.,  winning  3  first 
prizes,  pf.  1866,  harmony  '67,  organ 
'69;  orgt.  in  Paris  since  1896;  prof, 
of  harmony  1892-96,  and  of  piano 
1896-1901  at  Cons.;  since  about 
1893  has  been  distinguished  as  per- 
former, especially  of  classical  music; 
successful  concerts  with  Ysaye  in 
Paris,  London,  and  U.  S.;  playing 
notable  for  smooth  tone,  intense 
expression,  combined  with  force; 
compr.  of  oratorio,  ballets,  etc. 

Purcell,  Henry,  compr.  b.  West- 
minster, London,  1658;  d.  there, 
Nov.  21,  1695.  Called  "  the  young- 
er"; father,  also  Henry  P.  (d.  Aug. 


PYNE 

11, 1664),  gentleman  of  Chapel  Royal 
after  Restoration,  master  of  chor- 
isters, Westminster  Abbey,  member 
of  King's  band;  after  early  death  of 
father,  Henry  was  chorister  at 
Chapel  Royal  under  Cooke  and 
Pelham  Humfrey,  who  is  said  to 
have  shown  him  the  French  style 
of  music;  early  a  compr.;  pupil  in 
composition  of  Blow;  copyist  at 
Abbey  1676-78,  1688-90,  orgt.  there 
1680  (unsupported  tradition  gives 
Blow  credit  for  resigning  in  pupil's 
favor);  orgt.  at  Chapel  Royal  1682; 
composed  anthems  and  songs  from 
early  age,  "  lessons "  for  harpsi- 
chord; sonatas,  fantasias,  etc.  for  sev- 
eral instruments;  incidental  music 
for  plays  (the  so-called  "  operas " 
are  mostly  detachable  songs);  of 
these  the  most  notable  are  Dido  and 
jEneas  (probably  1688-90),  Dio- 
desian  1690,  Dryden's  King  Arthur 
1691.  Reckoned  as  greatest  English 
compr.;  there  have  been  frequent 
editions  of  his  works,  but  no  accu- 
rate ones  until  foundation  of  Purcell 
Society  1878,  16  volumes  published 
up  to  1908.  Chief  characteristics 
of  music  are  "  fondness  for  austere 
melody,  relieved  by  strongly  marked 
rhythm,  delight  in  moving  basses 
and  skill  in  handling  ground  bass, 
love  of  'false  relations,'  beside 
general  technical  ingenuity  com- 
bined with  direct  passionate  expres- 
sion." [Grove.];  unfortunate  for 
English  music  that  he  had  no  im- 
mediate successors.  (Biography  by 
W.  H.  Cummings.) 


QUINAULT 

Pyne,  John  Kendrick,  orgt.  b.  London, 
Aug.  21,  1810;  d.  there,  Mar.  2  (4?), 
1893.  Son  of  James  Kendrick, 
tenor  (1785-1857);  pupil  of  Crotch 
at  Royal  Acad.;  orgt.  at  Bath 
Abbey  from  1839.  Son  James  Ken- 
drick, orgt.  b.  Bath,  Feb.  5,  1852. 
Pupil  of  father  and  S.  S.  Wesley; 
orgt.  at  Bath,  etc.,  finally  at  Man- 
chester Cath.  1876;  prof,  at  Manches- 
ter Royal  Coll.  Mus.  1893;  in  Phila- 
delphia 1875;  compr.  of  services, 
etc.;  well-known  recital  orgt. 

Pyne,  Louisa  Fanny,  dram.  sop.  b. 
England,  Aug.  27,  1832;  d.  London, 
Mar.  20,  1904.  Pupil  of  Smart, 
appeared  with  sister  at  early  age; 
d^but  on  stage,  Boulogne,  1849; 
sang  in  London  1849-54,  U.  S. 
1854-56,  again  in  England  estab- 
lished, with  Wm.  Harrison,  H.-P. 
Opera  Co.,  giving  English  operas; 
after  marriage  to  F.  Bodda,  baritone, 
in  1868,  retired  from  stage;  devoted 
td  teaching. 

Pythagoras,  mathematician,  b.  Samos, 
Greece,  about  582  B.  C.;  d.  Meta- 
pontum,  about  500.  Though  he 
wrote  no  books,  his  disciples,  Euclid, 
Ptolemy,  etc.  preserved  his  doc- 
trines which  he  is  thought  to  have 
gained  in  the  Egyptian  esoteric 
schools  where  he  spent  several  years; 
in  music  he  counted  only  the  oc- 
tave and  the  fifth  as  consonances 
(fourth  being  fifth  below);  third 
and  sixths  consequently  dissonant 
intervals. 


Quantz,  Johann  Joachim,  flute  player, 
b.  Oberscheden,  Hanover,  Jan.  30, 
1697;  d.  Potsdam,  July  12,  1773. 
Played  double-bass  at  8;  at  10,  as 
apprentice  to  uncle,  town  musician 
at  Merseburg,  studied  clavichord 
with  Kiesewetter,  and  learned  other 
instruments;  member  of  town  orch. 
at  Dresden;  studied  counterpoint 
with  Zelenka  and  Fux  at  Vienna; 
1718  oboist  in  royal  orch.  at  Dresden, 
later  played  flute  there,  after  study- 
ing with  Buffardin;  and  resumed 
position  after  trip  to  Italy,  Paris, 
and  London;  teacher  of  Frederick 


the  Great,  when  crown  prince,  and 
after  his  accession  1740,  chamber 
musician  and  compr.;  invented 
second  key  and  sliding  top  for  flute; 
wrote  method  and  composed  about 
300  concertos  and  200  sonatas  and 
other  pieces. 

Quinault  (ke-no'),  Jean  Baptiste  Mau- 
rice, singer,  actor,  d.  Gien,  1744.  At 
Th.  Francaise  1712-18,  tragedian 
there  until  1733;  wrote  more  than 
20  interludes,  ballets,  etc.  (a  4-act 
ballet  Les  amours  des  deesses,  1728, 
had  considerable  success  in  Paris). 


RACHMANINOFF 


RAMEAU 


Rachmaninoff  (rak-man'-e'-nof),  Sergei 
Vassilievitch,  pst.,  compr.  b.  Nov- 
gorod, Russia,  Apr.  2,  1873.  Studied 
at  St.  Petersburg  and  Moscow  Cons., 
pf.  with  Siloti  and  theory  with 
Arensky;  gold  medal  1891;  after  con- 
cert tour  in  Russia,  and  appearance 
at  London  Philharmonic,  1899,  ap- 
pointed pf.  prof,  at  Maryinsky  Inst. 
forgirls,  Moscow  1893;  American  tour 
1909-10;  has  composed  opera  Aleko, 
Fantasia,  Bohemian  Caprice,  etc. 
for  orch.,  pf.  concerto,  two  sympho- 
nies, Elegiac  trio,  some  songs,  and  pf. 
music  (Variations,  Musical  moments, 
Preludes,  etc.),  which  contains  novel 
and  varied  harmonic  effects,  well 
worth  the  effort  of  overcoming  the 
considerable  technical  difficulty. 

Radecke  (ra'-d6-k6),  Albert  Martin 
Robert,  compr.  b.  Dittmannsdorf, 
Oct.  31,  1830.  Studied  at  Leipzig 
Cons.;  1st  vln.  in  Gewandhaus  orch.; 
condr.  Singakademie,  director  City 
Th.;  after  giving  concerts  in  Berlin, 
mus.  director  of  court  theatre  there 
1863-87,  court  capellmeister  1871, 
director  of  Stern  Cone.  1883-88,  of 
Royal  Inst.  for  Church  Mus.  1892; 
compr.  orch.  works,  especially  ex- 
cellent pf.  trios  and  songs. 

Raff  (raf),  Joseph  Joachim,  compr.  b. 
Lachen,  Lake  of  Zurich,  May  27, 
1822;  d.  Frankfort-on-Main,  June 
25,  1882.  Son  of  orgt.,  educated  at 
Wiirttemberg  and  in  Schuryz;  be- 
came school-teacher,  continuing 
alone  study  of  comp.,  pf.  and  vln.; 
on  Mendelssohn's  recommendation 
some  pf.  pieces  were  published  1843; 
devoted  himself  to  composition; 
until  1850  in  Cologne,  Wiesenstetten, 
and  Stuttgart,  though  encouraged 
by  Liszt  and  Von  Billow,  many 
chances  of  success  failed;  1850  in 
Weimar,  where  he  wrote  articles  for 
Neue  Zeitschrift  and  where  Liszt 
produced  opera  Konig  Alfred;  after 
1856  in  Wiesbaden,  in  demand  as 
teacher;  symphony  An  das  Voter- 
land  won  prize  Vienna  1863;  director 
of  Hoch  Cons,  at  Frankfort  1877; 
much  work  done  to  earn  living;  of 
the  rest,  though  symphonies,  etc. 


are  frequently  of  some  melodic 
charm  and  are  worked  up  with 
great  care,  the  inherent  weakness 
of  his  ideas  has  caused  them  already 
to  disappear  from  programs. 

Raif  (rif),  Oskar,  pf.  teacher.  b. 
Zwolle,  Holland,  July  31,  1847;  d. 
Berlin,  July  29,  1899.  Studied  with 
father,  Carl  R.,  and  Tausig;  prof, 
of  pf.  at  Royal  High  School,  Berlin, 
after  1875;  a  specialist  in  technic 
known  as  the  "  dumb  thumb  "  sys- 
tem; composed  pf.  concerto,  sonata, 
etc. 

Raimondi  (ra-mon'-di),  Pietro,  compr. 
b.  Rome,  Dec.  20, 1786;  d.  there,  Oct. 
30,  1853.  Pupil  of  La  Barbara  and 
Tritto  at  Naples;  lived  as  teacher 
and  successful  opera  compr.  in 
Genoa;  a  director  of  th.  at  Naples 
1824-33;  prof,  of  counterpoint  at 
Naples  Royal  Cons.  1825-32,  at 
Palermo  Cons.  1832-52;  maestro  di 
cappella,  St.  Peter's,  Rome,  1852-53; 
composed  fugues,  requiems,  masses, 
oratorios,  3  of  which  were  produced 
simultaneously  in  Rome,  1852,  as  a 
feat  of  contrapuntal  skill. 

Ramann  (ra'-man),  Lina,  writer,  b. 
Mainstockheim,  'June  24,  1833. 
Pupil  of  Frau  Brendel  at  Leipzig; 
founded  normal  mus.  sem'y  Gliick- 
stadt,  1858,  and  with  Ida  Volk- 
mann  school  at  Nuremberg,  1865; 
wrote  Grundriss  der  Technik  des  Kla- 
vier  spiels,  historical  essays,  and,  most 
notably,  biography  of  Liszt,  1880-93, 
still  standard;  edited  L's  works. 

Rameau  (ra-mo),  Jean  Philippe,  theor- 
ist, compr.  b.  Dijon,  Sept.  25,  1683; 
d.  Paris,  Sept.  12,  1764.  Of  musical 
family  and  precocious  ability;  studied 
at  Jesuit  Coll.,  Dijon;  1701  sent  to 
Italy,  but  did  not  care  for  prevailing 
styles;  played  vln.  in  traveling  opera 
company  and  was  orgt.  in  several 
places,  finally  at  Lille,  since  his  teacher 
Marc  hand  in  jealousy  kept  him  from 
Paris;  after  four  years  obtained  posi- 
tion in  Paris  and  published,  1726, 
Nouveau  systeme  de  musique  theo- 
rique;  after  writing  songs,  etc.  for 
plays,  composed  opera  Samson,  which 


RANDEGGER 


READING 


was  rejected;  Hippolyte  et  Aricie, 
1733,  not  very  successful,  but  with 
Les  Indes  galantes,  1735,  and  Castor 
et  Pollux,  1737,  he  was  launched  on 
career  of  success.  In  opera  marked 
advance  over  Lully  in  dramatic 
sincerity  and  larger  conceptions;  he 
gives  richer  and  more  expressive 
orchestral  backgrounds,  with  special 
part  for  each  instrument,  and  more 
frequent  solos  for  wood-wind;  not 
happy  in  composing  for  voice  and 
hampered  by  theory  that  any  libretto 
would  do;  in  mus.  theory,  he  first  re- 
duced study  of  chords  to  a  systematic 
basis  and  established  satisfactorily 
the  science  of  "  equal  temperament "; 
his  is  preeminently  the  "  reflecting, 
calculating  genius  of  a  philosopher." 

Randegger  (ran-dezh-er),  Alberto,  sing- 
ing teacher,  b.  Trieste,  Apr.  13, 1832. 
Studied  with  Lafont  and  Ricci; 
theatre  condr.  at  several  Italian 
cities;  prod.  2  operas;  in  London 
since  1854;  singing  teacher  at  Royal 
Acad.  since  1868  and  at  Royal  Coll.; 
conducted  Italian  opera  1857,  Carl 
Rosa  Co.  1879-85,  Norwich  Festival 
1881-1905;  composed  dram,  cantata 
Fridolin,  2  soprano  scenes,  Medea, 
Saffo,  psalms,  etc.;  author  of  valu- 
able Primer  of  Singing. 

Randolph,  Harold,  pst.  b.  Richmond, 
Va.,  Oct.  31,  1861.  Father  a  lawyer 
and  writer;  both  parents  good  ama- 
teur musicians;  began  to  study  music 
at  about  eight  years  of  age,  and  re- 
ceived bulk  of  musical  education  at 
the  Peabody  Conservatory,  Balti- 
more; began  professional  career  at 
sixteen,  and  filled  various  positions  as 
organist  and  choirmaster  up  to  1906, 
when  he  retired  from  church  work; 
director  of  Peabody  Conservatory 
since  1898;  has  appeared  as  pianist 
with  most  of  the  principal  American 
orchestras  and  chamber  music  organ- 
izations; first  pianist  entirely  Ameri- 
can-taught to  achieve  wide  public 
recognition;  reorganized  the  Con- 
servatory and  greatly  enlarged  its 
scope. 

Rappoldi  (rap-p61'-de),  Edouard,  vlt. 
b.  Vienna,  Feb.  21,  1839;  d.  Dresden, 
May  16,  1903.  Pupil  in  Vienna 
Cons,  of  Jansa,  Bohm,  and  Sechter; 
vlt.  in  court  orch.;  leader  at  Rot- 
terdam; condr.  at  Liibeck,  Prague, 


etc.;  teacher  at  Berlin  Hochschule 
1871-77;  leader  of  opera  orch.  and 
head  teacher  vln.  at  Dresden  Cons. 
1877-98,  where  he  retired.  Wife, 
Laura,  nee  Kahrer,  pst.  b.  Mistel- 
bach,  near  Vienna,  Jan.  14,  1853. 
Pupil  at  Vienna  Cons,  and  with  Liszt. 

Rauchenecker  (row'-ken-ek-er),  Georg 
Wilhelm,  condr.,  compr.  b.  Munich, 
Mar.  8,  1844;  d.  Elberfeld,  July  17, 
1906.  Pupil  of  Th.  Lachner,  Baum- 
gartner,  and  Walter;  vlt.  at  Lyons; 
director  at  Avignon  Cons.,  at  Win- 
terthur;  condr.  Berlin  Philharmonic 
1884,  and  mus.  dir.  Elberfeld  after 
1889;  composed  3  operas  and  success- 
ful string  quartets. 

Ravel  (ra-vel'),  Maurice,  compr.  b. 
Ciboure,  Basses-Pyre'ne'es,  Mar.  7, 
1875.  Pupil  at  Paris  Cons.,  pf.  with 
De  Be*riot,  harmony  with  Pessard, 
1892-95,  comp.  with  G.  Faure",  1897- 
1900;  as  applicant  for  Prix  de  Rome, 
1905,  is  said  to  have  been  victim  of 
favoritism;  has  composed  Shehera- 
zade  overture,  The  Toys'  Christmas 
for  orch.,  quartet  which  has  been 
widely  played;  his  music  is  of  "  radi- 
cal harmonic  structure,  ingenious 
detail,  and  pervasive  imagination." 

Ravenscroft,  Thomas,  compr.  b.  Lon- 
don, 1593;  d.  London,  1635.  Choris- 
ter at  St.  Paul's  under  Pearce;  Mus. 
B.  Cambridge  1607;  his  Pammelia, 
1609,  first  collection  of  part-songs, 
rounds,  etc.  printed  in  England; 
issued  other  collections,  Deutero- 
melia,  Melismata,  Discourse  (on  nota- 
tion), and  Whole  Booke  of  Psalms 
"  by  sundry  authors." 

Ravina  (ra-vi-na),  Jean  Henri,  pst., 
compr.  b.  Bordeaux,  May  20,  1818; 
d.  Paris,  Sept.  30,  1906.  Entered  at 
Paris  Cons.,  studied  with  Zimmer- 
mann, Laurent,  Reicha,  and  Leborne; 
1st  pf.  prize  1834,  1st  harmony  1836; 
teacher  1835-37;  long  concert  tours, 
composed  salon  music  Douce  pensee; 
Calinerie,  Etudes  de  style  et  de  per- 
fection. 

Reading,  John,  compr.  Three  of  this 
name:  1.  Vicar  at  Lincoln  Cath., 
master  of  choristers  1670;  orgt. 
Winchester  Cath.  1675-81,  at  W. 
Coll.  1681-92,  when  he  died.  2. 
Orgt.  at  Chichester  Cath.  1674-1720. 
3.  b.  1677;  d.  Sept.  2,  1764.  Orgt,, 
master  of  choristers,  Lincoln,  and 


REAY 


REICHA 


orgt.  after  1707  at  several  London 
churches;  one  of  these  is  supposed 
to  be  compr.  of  tune  Adeste  fideles. 

Reay,  Samuel,  teacher,  b.  Hexham, 
Eng.,  Mar.  17,  1822;  d.  Newark, 
July  22, 1905.  Chorister  at  Durham ; 
pupil  of  Henshaw  and  Stimpson; 
orgt.  in  several  places;  song  school- 
master of  Newark  Parish  Ch.  after 
1899;  condr.  Newark  Philharmonic 
Soc.;  compr.  of  anthems  and  services, 
editor  of  Songs  and  ballads  of  North- 
ern England. 

Reber  (ra-bar),  Napoleon  Henri,  compr. 
b.  Miihlhausen,  Alsace,  Oct.  21, 
1807;  d.  Paris,  Nov.  24,  1880. 
Studied  with  Reicha  and  Lesueur 
at  Paris  Cons.,  where  he  was  prof, 
of  harmony  after  1851,  of  comp. 
1862;  inspector  of  branch  cons.  1871; 
member  of  Academy  1853;  composed 
chamber  mus.,  ballet,  operas  (Le 
pere  Gaillard,  1852),  noteworthy 
orchestral  works  (4  symphonies, 
suite,  scenes  lyriques  Roland);  wrote 
useful  Traite  d'harmonie. 

Rebicek  (ra'-W-chgk),  Josef,  vU.  b. 
Prague,  Feb.  7,  1844;  d.  Berlin, 
Mar.  24,  1904.  Pupil  at  Prague 
Cons.;  vlt.  in  Weimar  court  orch.; 
leader  at  theatres  Wiesbaden  and 
Prague;  director  Warsaw,  condr. 
Pesth,  Wiesbaden;  capellmeister 
Berlin  Philharmonic  1897-1903; 
composed  symph.  in  D  minor. 

Rebikoff  (ra-bl'-kof),  Vladimir  Ivano- 
vitch,  compr.  b.  Krasnoyarsk,  Si- 
beria, June  1,  1866.  Studied  at 
Moscow  Cons.,  at  Berlin  with 
Miihler,  and  at  Vienna;  lived  in 
Odessa,  in  Kishineff,  where  he 
founded  branch  Mus.  Soc.,  then  in 
Moscow;  early  compositions  simple 
and  pleasing;  later  ones,  chiefly  for 
pf.  (Melomimiques,  Esclavage  et 
liberte,  etc.),  are  experiments  in  un- 
conventional forms  and  unusual 
consonances,  imitations,  etc. 

Redhead,  Richard,  orgt.  b.  Harrow, 
Eng.,  Mar.  1,  1820;  d.  Hellingley, 
Sussex,  Apr.  27,  1901.  Chorister  at 
Magdalen  Coll.,  Oxford,  where  he 
was  pupil  of  Vicary;  orgt.  in  London 
1839-1901;  composed  services,  an- 
thems, etc.,  for  Anglican  Church, 
and  compiled  collections  of  hymns, 
chants,  etc. 


Reeves,  John  Sims,  tenor,  b.  Wool- 
wich, Sept.  26,  1818;  d.  Worthing, 
Oct.  25,  1900.  Early  played  org., 
vln.,  'cello,  oboe,  and  bassoon;  pupil 
of  Cramer,  Callcott,  Hobbs,  and 
Cooke;  d6but  as  baritone  Newcastle- 
on-Tyne,  1839,  sang  tenor  in  London 
1842;  after  further  study  with  Bor- 
dogni  and  Mazzucato,  appeared 
Milan  1846  as  leading  tenor;  very 
popular  in  England,  especially,  in 
both  opera  and  oratorio;  "  Ids 
operatic  career  was  more  or  less 
overshadowed  by  the  great  place  he 
made  for  himself  in  oratorio,"  at 
Handel  Festival,  1857,  in  Eli  and 
Naaman  (written  for  him)  and 
many  new  works;  farewell  concert 
1891,  but  reappeared  under  pres- 
sure of  need  in  1893,  and  1896; 
published  reminiscences  My  Jubilee. 

Reger  (ra-ger),  Max,  compr.  b.  Brand, 
Bavaria,  Mar.  19,  1873.  Pupil  of 
Lindner  and  H.  Riemann  at  Sonders- 
hausen  and  Wiesbaden,  where  Reger 
taught,  1895-96;  after  military  ser- 
vice and  severe  illness  finally  settled 
in  Munich  1901;  prof,  of  harmony 
and  counterpoint  at  Royal.  Acad.  and 
condr.  of  Porgesscher  Gesangverein, 
Leipzig,  1908;  compr.  of  great  origi- 
nality and  contrapuntal  skill;  ex- 
treme in  disregard  of  established 
limitations  of  form  and  key;  he  has 
composed  songs,  variations,  sonatas 
(some  for  vln.  alone),  org.  works, 
and  Sinfonietta  and  Serenade  for  orch. 

Rehberg  (ra-berg),  Willy,  pst.  b. 
Merges,  Switzerland,  Sept.  2,  1862. 
Pupu  of  father,  Friedrich  R.,  of 
Hegar,  Weber,  and  Freund  at  Zurich, 
and  at  Leipzig  Cons.,  where  he  later 
taught;  condr.  concerts  of  court 
orch.  and  Singakademie  at  Alten- 
berg  1888-90;  teacher  of  pf.  at 
Geneva  Cons.;  after  1890  capell- 
meister of  Geneva  orch.;  composed 
sonata,  gavotte,  etc.,  for  pf. 

Rehfeld  (ra'-felt),  Fabian,  vtt.,  compr. 
b.  Tuchel,  W.  Prussia,  Jan.  23,  1842. 
Studied  with  Zimmermann  and 
Griinwald;  Royal  chamber  musician, 
Berlin,  1868;  concertmaster  court 
orchestra  1873,  professor  1903; 
compr.  for  vln. 

Reicha  (ri'-ka),  Anton,  theorist,  compr. 
b.  Prague,  Feb.  27,  1770;  d.  Paris, 
May  28,  1836.  Pupil  of  uncle 


REICHART 

Joseph  R.  [or  Rejcha],  compr.  and 
vlt.;  flute  player  Bonn  orch.,  where 
Beethoven  played  viola;  pf.  teacher 
Hamburg  1794-99;  lived  in  Vienna 
1801-08,  intimate  with  Beethoven 
and  circle;  lived  in  Paris  after  1808; 

B -educed  operas,  taught  (Elwart, 
ancla,  etc.  among  pupils);  prof, 
counterpoint  and  fugue  at  Cons. 
1818;  member  Academy  1835;  com- 
posed chamber  music  (some  for 
horns,  etc.)  and  wrote  theoretical 
works,  clear  and  successful,  but  now 
out  of  date. 

Reichardt  (rlk'-ardt),  Johann  Friedrich, 
compr.  b.  Konigsberg,  Nov.  25, 1752; 
d.  Giebichenstein,  near  Halle,  June 
27,1814.  Pupil  of  C.  G.  Richter  and 
Veichtner;  student  of  philosophy  at 
Leipzig;  capellmeister  to  Frederick 
the  Great  1775;  founded  Concerts 
spirituels,  for  which  he  wrote  pro- 
grams; journeys  to  London  and 
Paris  1786;  dismissed  by  F.  Wilhelm 
II,  1794;  inspector  of  salt  works  at 
Giebichenstein;  capellmeister  to 
Jerome  Napoleon;  his  numerous 
Singspiele  affected  German  opera 
by  establishing  national  character; 
as  song  compr.  he  marks  transition 
between  earlier  comprs.  and  Schu- 
bert; also  wrote  passion  music, 
anthems,  etc.;  instrumental  works 
of  no  great  importance. 

Reichmann  (rik'-man),  Theodor,  dram, 
baritone,  b.  Rostock,  Mar.  15,  1849; 
d.  Marbach,  Lake  of  Constance, 
May  22,  1903.  Studied  in  Berlin, 
Prague  and  with  Lamperti  in  Milan; 
sang  at  Magdeburg  1869,  Berlin, 
Cologne,  Munich,  etc.;  at  Vienna 
Court  Opera  1882-99;  created  Am- 
fortas  in  Parsifal,  Bayreuth,  1882; 
N.  Y.  1889-91;  after  1893  again  in 
Vienna. 

Reimann  (ri'-man),  Heinrich,  orgt. 
b.  Rengersdorf,  Mar.  14,  1850;  d. 
Charlottenburg,  May  24, 1906.  Pupil 
of  father  at  Glatz  Gymnasium,  Bres- 
lau  Univ.;  resigned  positions  as 
teacher  and  school  director;  con- 
ducted choral  societies;  critic  and 
writer;  asst.  librarian  Roval  Library, 
Berlin,  orgt.  to  Berlin  Philharmonic 
until  1875;  teacher  of  org.  and  theory 
at  Scharwenka-Klindworth  Cons, 
until  1894;  orgt.  at  Kaiser  Wilhelm 
Memorial  Church  1895;  critic  for 


REOTKEN 

Allgemeine  Musik  Zeitung,  compr. 
of  org.  mus.,  author  of  biog.  of 
Schumann,  etc. 

Reinagle  (ri'-nagle),  Alexander  Robert, 
orgt.,  compr.  b.  Brighton,  Aug.  21, 
1799;  d.  Kidlington,  near  Oxford, 
Apr.  6,  1877.  Of  musical  family; 
teacher,  orgt.  at  Oxford;  wrote 
instruction  books  for  vln.  and  'cello; 
composed  hymn  tune  St.  Peter. 

Reinecke  (ri'-nek-6),  Carl  Heinrich 
Carsten,  pst.,  compr.,  condr.  b. 
Altona,  June  23,  1824;  d.  March  10, 
1910,  at  Leipzig.  Pf.  pupil  of  father; 
after  1843  made  tours  in  Scandinavia 
and  Germany;  friend  of  Mendels- 
sohn and  Schumann  at  Leipzig;  pst. 
to  Christian  VIII;  after  some 
years  in  Paris,  taught  at  Cologne 
Cons.  1851;  was  director  Barmen 
1854-59;  dir.  and  condr.  Singaka- 
demie,  Breslau,  1859-60;  condr. 
Gewandhaus,  Leipzig,  1860-95;  also 
prof,  of  pf.  and  comp.  at  Leipzig 
Cons.  1860-1902,  where  he  had 
many  famous  pupils,  Joseffy,  Maas, 
etc.;  leader  in  Leipzig  for  25  years; 
works,  especially  those  for  pf.,  and 
chamber  mus.,  show  skill  in  con- 
struction and  considerable  romantic 
feeling;  settings  for  women's  voices 
'of  Dornroschen,  Schneewittchen,  etc., 
also  noteworthy;  besides  concertos 
for  'cello,  vln.,  harp,  operas,  can- 
tatas, overtures,  etc.,  contributions 
to  English  and  German  periodicals. 

Reinhold  (rin-holt),  Hugo,  compr.  b. 
Vienna,  Mar.  3,  1854.  Chorister  at 
court  chapel;  pupil  of  Bruckner, 
Dessoff,  and  Epstein  at  Cons.;  suite 
for  pf.  and  strings,  minuet  and  fugue 
for  orch.,  and  string  quartet  have  at- 
tracted notice,  as  well  as  songs  and 
pf.  music. 

Reinken  (rin'-ken),  Johann  Adam, 
orgt.,  compr.  b.  Wilshausen,  Lower 
Alsace,  Apr.  27,  1623;  d.  Ham- 
burg, Nov.  24,  1722.  Pupil  of 
Scheidemann  at  Hamburg  1654-57; 
orgt.  at  Deventer  1657-58;  then 
assistant  and  successor,  1663,  to 
Scheidemann;  distinguished  per- 
former whom  Bach  walked  from 
Liineberg  to  hear;  wrote  Hortus 
musicus  (2  vlns.,  via.,  bass),  Partite 
diverse,  toccata,  variations,  and 
fugue;  other  works  burned  by 
direction  of  his  will. 


REINTHALER 


RESZKE 


Reinthaler  (rin'-ta-ler),  Carl  Martin, 
compr.  b.  Erfurt,  Oct.  13,  1822; 
d.  Bremen,  Feb.  13,  1896.  Pupil  of 
G.  A.  Ritter,  and  of  Marx,  in  sing- 
ing of  Geraldi  and  Bordogni  in 
Paris  and  in  Rome;  teacher  of 
singing,  Cologne  Cons.,  1853;  mus. 
dir.,  orgt.  at  Cathedral;  condr.  of 
Singakademie  and  Liedertafel  at 
Bremen;  compr.  of  2  operas,  widely 
popular  oratorio  Jephtha,  famous 
Bismarck-  Hymne,  symphony,  and 
choral  works. 

Reisenauer   (ri'-zen-ou-er),  Alfred,  pst. 

.  b.  Konigsbers:,  Nov.  1,  1863;  d. 
Libau,  Oct.  "31,  1907.  Pupil  of 
Kohler  and  Liszt;  d^but  with  Liszt 
1881;  after  studying  law  in  Leipzig, 
reappeared  with  brilliant  success 
1886;  prof.  pf.  at  Leipzig  Cons. 
1900;  in  America  1904;  special 
characteristics  not  spectacular  ex- 
hibition, but  sympathetic  interpre- 
tation of  varied'  comprs.;  at  his  best 
with  Schumann  and  Liszt. 

Reissiger  (ris'-sig-er),  Carl  Gottlieb, 
compr.  b.  Bebiig,  near  Wittenberg, 
Jan.  31,  1798;  d.  Dresden,  Nov.  7, 
1859.  Pupil  of  Schicht  at  Leipzig; 
appeared  'as  singer  and  pst.  at 
Vienna;  stud.  comp.  with  Winter 
at  Munich;  tour  of  Italy  1824  to 
examine  conservatories  and  submit 
plan;  after  teaching  at  Berlin  Inst. 
for  Ch.  Mus.,  organized  The  Hague 
Cons.  1826;  dir.  German  Opera  at 
Dresden;  court  capellmeister;  com- 
posed some  10  operas  (overture  to 
Die  Felsenmuhle  was  popular),  ora- 
torio, masses,  many  sonatas  and 
rondos  for  various  instruments. 

Reissmann  (ris'-man),  August,  writer. 
b.  Frankenstein,  Silesia,  Nov.  14, 
1825;  d.  Berlin,  Dec.  1,  1903. 
Pupil  of  Jung,  Baumgart,  Richter, 
etc.;  in  Weimar  with  Liszt  1850-52; 
lived  in  Halle,  in  Berlin  1863-80, 
where  he  lectured  at  Stern  Cons.,  in 
Leipzig,  Wiesbaden,  and  again  Ber- 
lin; wrote  biographies  of  Schumann, 
Schubert,  Haydn,  Weber,,  etc.;  books 
on  opera  and  history  (Geschichte 
des  deutschen  Liedes),  edited  Cathy's 
lexicon,  and  Mendel's;  composed 
operas,  ballet,  oratorio,  etc. 

Rellstab  (rel'-stab),  Heinrich  Friedrich 
Ludwig,  writer,  b.  Berlin,  Apr.  13, 
1799;  d.  there,  Nov.  27,  1860.  Son 


of  Johann  Carl  Friedrich  R.,  printer, 
lecturer,  critic  (1759-1813);  artillery 
officer,  teacher  of  mathematics  and 
history  in  military  school;  retired 
from  army  1821;  critic  on  Vossische 
Zeitung;  author  of  satires  against 
Sontag  and  Spohr,  for  each  of  which 
he  was  imprisoned;  edited  mus. 
paper  Iris,  etc.,  1839-41;  contributed 
to  others'  biographies  of  Liszt,  etc.; 
well  known  as  novelist,  author  of 
"  1812." 

Remenyi  (re-men '-yl),  [real  name  Hoff- 
mann], Eduard,  vlt.  b.  Heves,  or 
Miskolcz,  Hungary,  July  17,  1830; 
d.  San  Francisco,  Cal.,  May  15,  1898. 
Pupil  at  Vienna  Cons,  of  Bohm; 
played  in  America;  after  advice 
from  Liszt,  1853,  solo  vlt.  to  Queen 
Victoria,  and,  1860,  to  Emperor  of 
Austria  after  amnesty  (he  was  exiled 
in  '48);  after  1865  began  series  of 
long  successful  tours,  Paris  1865, 
1875,  London  1877,  even  around 
the  world;  transcribed  for  vln. 
Field's  nocturnes,  Chopin's  waltzes 
and  other  pf.  music;  of  great  tech- 
nical skill,  brilliance,  and  vigor  of 
execution  at  his  best,  but  uneven  in 
achievement  as  he  was  wandering 
by  nature;  gave  Brahms  his  start 
as  accomp.,  first  discovering  his 
genius. 

Renaud  (re-no).  Maurice,  baritone,  b. 
Bordeaux,  1862.  Studied  at  Paris 
Cons.;  sang  at  Brussels  1883-90; 
Ope>a  Comique,  Paris,  1890-91;  at 
Opera  since  1891;  N.  Y.  1906-10; 
of  wide  repertoire;  sings  and  acts 
with  great  intelligence  and  so  much 
care  that  at  times  he  is  accused  of 
lack  of  spontaneity. 

Rendano  (ren-da'-no),  Alfonso,  pst._  b. 
Carolei,  near  Cosenza,  Calabria, 
Apr.  5,  1853.  Studied  at  Naples  and 
Leipzig  Cons,  and  with  Thalberg; 
popular  as  performer  in  London  and 
Italy;  composed  considerable  salon 
music. 

Reszke  (resh-ka),  Jean  de,  dram, 
tenor,  b.  Warsaw,  Jan.  14,  1852. 
Studied  with  Ciaffei,  Cotogni,  and 
Sbriglia;  d<5but  1874,  London  1875, 
and  engagements  in  Italy  and  Paris 
as  baritone;  d6but  as  tenor  Madrid 
18.79;  1st  tenor  at  Paris  Ope>a 
1884-89;  sang  in  London  after  1887, 
and  in  New  York  after  1895;  retired 


REYER 

to  Paris  1902.  where  he  teaches 
singing;  remarkable  singer,  whose 
repertoire  finally  included  Wagner- 
ian  operas  as  well  as  French  and 
Italian.  Brother  Edouard,  dram, 
bass.  b.  Warsaw,  Dec.  23,  1855. 
Pupil  of  Jean,  Ciaffei,  Steller,  and 
Coletti;  d£but  Warsaw  1876;  at  Th. 
Italien,  Paris,  1885-98;  followed 
•  Jean  in  English  and  American 
engagements  and  into  retirement. 

Reyer  (ra-yar),  [properly  Rey],  Louis 
Etienne  "Ernest,  compr.  b.  Mar- 
seilles, Dec.  1,  1823;  d.  Toulon,  Jan. 
15,  1909.  While  in  government 
office  at  Algiers,  composed  mass  and 
songs;  studied  mus.  in  Paris  with 
aunt,  Mme.  Farrenc;  prod,  sym- 
phonic ode  1850;  member  of  Acad- 
emy 1876;  composed  operas  La 
statue  1861,  Sigurd  1884,  Salammbd 
1890,  latter  two  successful;  choruses 
and  church  music;  highly  ranked  as 
compr.  of  richly  colored  music  in 
school  of  Berlioz,  and  as  critic  and 
essayist. 

Reznicek  (rez'-ni-chek),  Emil  Nicolaus, 
Freiherr  von,  compr.  b.  Vienna, 
May  4,  1861.  Studied  law  at  Graz, 
music  at  Leipzig  Cons.;  theatre 
capellmeister  in  several  places,  finally 
at  Mannheim  1896-99;  founded 
concerts  for  small  orch.  at  Berlin, 
where  he  has  lived  since  1902,  con- 
ducting also  in  Warsaw  and  Russia; 
teacher  at  Klindworth-Scharwenka 
Cons.  1906;  composed  overtures, 
symphonies,  etc.,  and  operas  (not- 
ably Donna  Diana,  Till  Eulenspiegel). 

Rheinberger  (rin'-berger),  Joseph  Ga- 
briel, compr.  b.  Vaduz,  Liechten- 
stein, Mar.  17,  1839;  d.  Munich, 
Nov.  25,  1901.  Pupil  of  Herzog, 
Leonhard,  and  J.  J.  Mayer  at  Royal 
Sch.  of  Mus.,  Munich,  where  he 
taught  1859;  orgt.  at  court  ch., 
condr.  Oratorio  Soc. ;  re'pe'titeur  court 
opera  1865-67;  court  capelln\eister 
1877;  teacher  in  Royal  Acad.  from 
1867  till  death;  renowned  every- 
where as  teacher  (Chadwick,  Parker, 
and  Goodrich  among  many  Ameri- 
can pupils);  composed  operas  (Die 
sieben  Raven,  etc.),  cantatas  and 
oratorios  (Christophorus,  etc.),  over- 
tures,, concertos  (2  for  org.),  and 
especially  20  org.  sonatas,  which 
combine  great  skill  with  ideas  of 
greater  smoothness  and  beauty. 


RICHTER 

Rhodes,  Mrs.,  see  Hardelot,  Guy  d'. 

Richards,  Henry  Brinley,  compr.,  pst. 
b.  Camarthen,  Wales,  Nov.  13, 
1817;  d.  London,  May  1,  1885. 
Pupil  at  Royal  Academy,  King's 
Scholar  1835,  '37;  concert  pst.  and 
teacher  in  London;  composed  pf. 
mus.,  songs,  notably  popular  God 
bless  the  Prince  of  Wales,  military 
marches,  Albert  Edward,  etc. 

Richardson,  Nathan,  teacher,  b.  S. 
Reading,  Mass.,  July  31,  1827;  d. 
Paris,  France,  Nov.  19,  1859.  While 
pupil  in  Boston  composed  popular 
march  Gen.  Taylor's  Own,  etc.; 
pupil  in  Leipzig  of  Moscheles,  etc., 
in  Dresden  of  Willmers,  and  espe- 
cially at  Prague  of  Dreyschock; 
after  return  to  America  published 
Modern  School  for  Pf.;  publisher 
and  mus.  seller  in  Boston;  despite 
increasing  ill  health,  for  which  he 
journeyed  to  Smyrna  and  to  Paris, 
published  New  Method  for  pf.  1859. 

Richter  (rik'-ter),  Ernst  Friedrich 
Eduard,  theorist,  compr.  b.  Gross- 
Schonau,  Saxony,  Oct.  24,  1808;  d. 
Leipzig,  Apr.  9*  1879.  Student  of 
theology  at  Leipzig  Univ.;  music 
pupil  of  Weinlig;  asst.  of  Haupt- 
mann  at  Cons.  1843;  condr.  of 
Singakademie  1843-47;  orgt.  at  vari- 
ous churches,  finally,  1868,  director 
and  cantor  at  Thpmaskirche; 
beside  skilful  compositions,  wrote 
widely  known  Text-book  of  Harmony 
1853,  of  Counterpoint  1872,  of  Fugue 
1859.  Son  Alfred,  b.  Leipzig,  Apr. 
1,  1846.  Taught  at  Cons.  1872-83; 
lived  in  London,  then  again  in 
Leipzig;  published  additional  exer- 
cises, etc.  to  father's  Harmony. 

Richter,  Hans,  condr.  b.  Raab,  Hun- 
gary, Apr.  4,  1843.  Chorister  in 
court  chapel,  Vienna;  pupil  of 
Sechter  and  others  at  Cons.,  learn- 
ing pf.  and  French  horn;  horn  player 
in  th.  orch.,  Vienna;  copied  Die 
Meistersinger  for  Wagner  at  Lucerne 
1866-67;  chorusmaster  Munich 
Opera;  court  condr.  under  Von 
Biilow  1868-69;  condr.  of  first  per- 
formance of  Lohengrin,  Brussels, 
1870;  capellmeister  at  Pesth  Nat'l 
Th.  1871-75,  at  Vienna  Opera  1875- 
1900,  1st  capellm.  1893;  condr. 
of  Vienna  Gesellschaft  concerts, 
1884-90;  after  1900  condr.  of  Halle" 


RIEDEL 


RIMBAULT 


Orch.  at  Manchester,  England,  and 
of  annual  concerts  in  London;  con- 
ducted 1st  performances  of  the  Ring 
1876  and  subsequent  Bayreuth  fes- 
tivals; Lower  Rhine  and  Birming- 
ham festivals  after  1885;  remark- 
able mastery  due  to  complete 
knowledge  of  technic  of  every  instru- 
ment. 

Riedel  (re'-del),  Carl,  condr.,  compr. 
b.  Kronenberg,  Oct.  6,  1827;  d. 
Leipzig,  June  3,  1888.  Revolution 
of  '48  turned  him  from  silk  dyeing 
to  music;  after  study  with  Carl 
Wilhelm  and  at  Leipzig  Cons., 
organized,  1854,  Riedelverein  for  per- 
formance of  ancient  church  music; 
pres.  1868  of  Allge'meiner  deutscher 
Musikverein,  and  of  Wagnerverein; 
edited  works  of  Schiitz,  Frank, 
Eccard,  etc.;  published  collections 
of  old  Bohemian  and  German  songs. 

Riego  (re-a'-go),  Teresa  del,  compr. 
b.  London.  Musical  studies  carried 
on  chiefly  at  West  Central  Coll.  of 
Mus.,  London,  pf.  and  comp.  under 
Sewell-Southgate,  also  studied  vln. 
and  singing;  composed  about  75 
songs,  sacred  and  secular,  including 
cycles;  pf.  works  in  Mss. 

Riemann  (re'-man),  Carl  Wilhelm 
Julius  Hugo,  writer.  b.  Gross- 
mehlra,  near  Sondershausen,  July 
18,  1849.  Pupil  of  Frankenberger, 
Barthel,  and  Ratzenberger,  of  law, 
philosophy,  and  history  at  Berlin 
and  Tubingen,  and,  after  war  of 
1870,  at  Leipzig  Cons.;  Ph.D. 
Gottingen  1873,  with  mus.  thesis; 
teacher  and  lecturer  at  Bielefeld, 
Leipzig,  Cons,  of  Hamburg,  Sonders- 
hausen, and  Wiesbaden;  1895  again 
univ.  lecturer  at  Leipzig;  beside 
numerous  compositions,  chiefly  for 
pf.,  has  written  on  history  of  nota- 
tion, history  of  theory,  pf.  playing 
(notably  Guide  to  Art  of  Phrasing), 
series  of  musical  catechisms  (Instru- 
mentation, Bach's  well-tempered  Clav- 
ichord, etc.);  edited  works  of  Ra- 
meau,  Friedemann  Bach,  etc.;  com- 
piled Opern-Handbuch,  Musik-Lexi- 
kon  (1882;  7th  ed.  1909),  of  great 
value. 

Riemenschneider  ( re'-men-shni-der ) , 
Georg,  condr.  b.  Stralsund,  Apr.  1, 
1848.  Studied  with-  Haupt  and 
Kiel;  theatre  condr.  Liibeck  and 


Danzig;  orch.  condr.  Breslau;  com- 
posed opera  and  symphonic  "pict- 
ures "  Julinacht,  etc. 

Ries  (res),  Ferdinand,  pst.,  compr.  b. 
Bonn,  Nov.  29,  1784;  d.  Frankfort- 
on-Main,  Jan.  13,  1838.  Son  of 
Franz  (1755-1846),  music  director  to 
Elector  Franz  at  Bonn,  and  friend 
of  Beethoven;  pupil  of  Beethoven 
at  Vienna  1801-^5,  and  of  Albrechts- 
berger;  after  living  in  Paris,  tour- 
ing in  Germany,  Scandinavia,  and 
Russia,  teaching  and  playing  in 
London  1813-24,  he  retired;  lived  at 
Frankfort  after  1830;  though  good 
pst.  and  compr.  of  operas,  sympho- 
nies, chamber  mus.,  etc.,  he  is  chiefly 
known  for  intimate  biog.  of  Beetho- 
ven. Brother  Hubert,  vlt.  b.  Bonn, 
Apr.  1,  1802;  d.  Berlin,  Sept.  14, 
1886.  Pupil  of  Spohr  and  Haupt- 
mann;  leader  royal  orch.  Berlin 
1836;  teacher  Kgl.  Theatreinstru- 
mentalschule  1851-72;  author  of 
excellent  methods  and  exercises. 
His  son  Franz  (b.  1846),  excellent 
vlt.;  1st  prize  Paris  Cons.  1868; 
gave  up  playing  because  of  health; 
head  of  music  publishing  firm,  Ries 
and  Erler,  Berlin. 

Rietz  (retz),  Julius,  'cellist,  condr., 
compr.  b.  Berlin,  Dec.  28,  1812;  d. 
Dresden,  Sept.  12,  1877.  Son  of 
royal  chamber  musician  Johann 
Friedrich;  brother  of  Eduard  (1802- 
1832);  friend  of  Mendelssohn,  foun- 
der Berlin  Philharmonic;  pupil  of 
Schmidt,  Romberg,  and  Ganz;  mem- 
ber th.  orch.  Konigstadt;  condr.  at 
Diisseldorf,  as  asst.,  1834,  and  suc- 
cessor, 1835,  of  Mendelssohn;  at 
Liepzig,  condr.  at  th.  1847-54,  at 
Gewandhaus  1848,  prof,  of  comp.  at 
Cons.;  condr.  of  opera  and  court 
chapel,  Dresden,  1860,  and  director 
of  Cons.;  edited  works  of  Mozart, 
Beethoven,  and  complete  works  of 
Mendelssohn,  to  whose  period  belong 
R's  compositions,  operas,  concertos, 
choruses,  etc. 

Rimbault  (rim-bolt),  Edward  Francis, 
writer,  b.  London,  June  13,  1816; 
d.  there,  Sept.  26,  1876.  Pupil  of 
father,  Stephen  Francis  R.  (1773- 
1837),  orgt.,  of,  Samuel  Wesley,  and 
Crotch;  gave  lectures  on  English 
music  history  from  1838;  founded, 
with  Taylor  and  Chappell,  Mus. 
Antiquarian  Society,  for  publication 


RIMSKY-KORSAKOV 


RITTER 


of  old  English  mus.  1840;  edited 
publications  of  Antiquarian,  Motet, 
Percy  societies,  Cathedral  Chants, 
some  of  Handel's  works;  wrote 
histories  of  org.,  of  pf.,  etc. 

Rimsky-Korsakov  (rim'-ski-kor'-sa- 
koff),  Nikolas  Andreievitch,  compr. 
b.  Tikhvin,  prov.  of  Novgorod,  May 
21,  1844;  d.  St.  Petersburg,  June  21, 
1908.  While  student  at  Naval  Inst. 
at  St.  P.  studied  'cello  with  Ulich 
and  pf.  with  Kanill6;  officer  in  navy 
until  1873  (coming  to  U.  S.  in  1862); 
began  serious  study  of  music  with 
Balakirev  of  whose  circle  he  became 
influential  member;  prof.  comp. 
St.  P.  Cons.  1871-1905,  when  he 
resigned  to  be  reinstated  in  a  few 
months,  then  served  until  death; 
inspector  of  marine  bands  1873-84, 
director  of  Free  Sch.  of  Mus.  1874- 
87,  and  condr.  of  its  concerts  until 
1881;  asst.  condr.  Imperial  Orch. 
1883,  and  one  of  condrs.  of  Russian 
Symph.  Concerts  1886-1901;  he 
composed  operas  (Mlada,  etc.),  many 
orchestral  works,  3  symphonies 
(Antar  is  No.  2),  overtures,  sym- 
phonic poems  (Sadko,  etc.),  suite 
for  orch.  (Scheherazade),  chamber 
mus.,  pf.  pieces,  songs,  choruses 
(By  the  Waters  of  Babylon,  etc.),  and 
edited  2  collections  of  folk-songs; 
most  admired  in  Russia  as  compr. 
of  operas  dealing  with  local  mythol- 
ogy; he  is  best  known  elsewhere  as 
compr. ,  of  orchestral  music  remark- 
able not  for  form  but  for  an  almost 
oriental  richness  of  color  (attained 
in  earlier  works  by  skilful  handling 
of  limited  orch.),  by  variety  of  me- 
lodic effects,  and  insistent  rhythms. 

Rinck,  Johann  Christian  Heinrich, 
orgt.  b.  Elgersburg,  Thuringia, 
Feb.  18,  1770;  d.  Darmstadt,  Aug.  7, 
1846.  Pupil  of  several  orgts.,  finally 
of  Kittel  (pupil  of  J.  S.  Bach); 
town  orgt.  Giessen,  1790;  orgt.  and 
teacher  Darmstadt  1805;  made 
tours  through  Thuringia;  one  of 
foremost  players  of  time;  besides 
large  Orgelschule,  wrote  many  Choral- 
vorspiele,  etc. 

Rinuccini  (rin-u-che'-ne) ,  Ottavio,  li- 
brettist, b.  Florence,  1562;  d.  there, 
1621.  Wrote  words  for  earliest 
operas,  Peri  and  Caccini's  Dafne, 
Peri's  Euridice,  and  Monteverde's 
Arianna  a  Nasso. 


Risler  (ris-lar),  Joseph  Edouard,  pst. 
b.  Baden-Baden,  Feb.  23,  1873. 
Pupil  of  Die'mer  and  Dubois  at  Paris 
Cons.  1883-90,  and  of  d'Albert  and 
Stavenhagen;  r£p£titeur  at  Bay- 
reuth  1896,  '97  and  at  Paris  Opera 
for  performance  of  Meister singer; 
1906  member  of  Conseil  supe'rieur 
at  Paris  Cons.;  of  impeccable 
technic,  specially  praised  for  soft- 
ness of  touch  and  statue-like  repose. 

Ritter,  Alexander,  vlt.  b.  Narva  (or 
Reval),  Russia,  June  27,  1833;  d. 
Munich,  Apr.  12,  1896.  Pupil  of 
Franz  Schubert  in  Dresden,  of 
David  and  Richter  at  Leipzig  Cons.; 
leader  at  Meiningen,  Weimar,  and 
Wiirzburg  where  he  founded  music 
business;  member  of  Meiningen  orch. 
under  Von  Billow;  later  in  Munich; 
composed  2  operas  (Derfaule  Hans, 
Wem  die  Krone),  symph.  poems 
(Erotische  Legende,  etc.);  an  enthusi- 
astic radical  whose  influence  on  others 
(R.  Strauss,  etc.)  was  through  philos- 
ophy and  poetry  rather  than  music. 

Ritter,  Frederic  Louis,  teacher.  b. 
Strassburg,  June  22,  1834;  d.  Ant- 
werp, July  22,  1891.  Studied  with 
Schletterer,  Hauser,  and  J.  G. 
Kastner;  taught  in  Lorraine;  went 
1856  to  Cincinnati  where  he  orgah- 
ized  Cecilia  voc.  soc.  and  Phil- 
harmonic Orch.;  in  New  York  1861, 

.  condr.  of  Sacred  Harmonic  Soc.  and 
Arion;  1867-95  prof,  of  mus.  at 
Vassar  Coll. ;  wrote  Hist,  of  Music, 
Mus.  in  Eng.,  Mus.  in  America; 
composed  unimportant  symphonies, 
concertos,  psalms,  etc. 

Ritter,  Hermann,  teacher,  b.  Wismar, 
Sept.  16,  1849.  Teacher  at  royal 
mus.  school  at  Wiirzburg;  note- 
worthy for  introduction  of  a  larger 
viola  alta,  with  fuller  and  less  nasal 
tone,  sort  of  revived  tenor,  con- 
structed after  rules  of  violin-making; 
use  of  instr.  spread  by  many  pupils; 
author  of  history  of  viola  alta,  theory 
of  mus.  and  of  aesthetics,  illustrated 
mus.  hist. 

Ritter,  Theodore  [pseud,  of  T.  Rennet], 
pst.,  compr.  b.  near  Paris,  Apr.  5, 
1841;  d.  Paris,  Apr.  6,  1886.  Pupil 
of  Liszt;  successful  performer;  com- 
posed pf.  pieces,  dramatic  scenes  (Le 
paradis  perdu,  Mephistopheles)  and 
two  unsuccessful  operas. 


RIVHE-KING 

Rive-King  (re'-va-king),  Julie,  pst., 
compr.  b.  Cincinnati,  O.,  Oct.  31, 
1857.  Pupil  of  Wm.  Mason  and 
S.  B.  Mills,  of  Reinecke  and  Liszt; 
d£but  Leipzig  1874;  compositions 
include  Impromptu,  Polonaise  hero- 
vjue,  etc.;  has  played  with  almost 
every  orch.  and  under  every  condr. 
in  America. 

Robjohn,  W.  J.,  see  Florio,  Caryll. 

Robyn,  Alfred  G.,  compr.  b.  St.  Louis, 
Apr.  29, 1860.  Son  of  Wm.  R.  ("  who 
organized  first  symph.  orch.  west  of 
Pittsburgh."  Hughes.);  orgt.,  suc- 
ceeding father;  solo  pst.  with  Emma 
Abbott  Co.;  composed  sacred  and 
secular  songs  and  successful  comic 
operas  (The  Yankee  Consul,  etc.); 
removed  from  St.  Louis  to  Brooklyn, 
1910;  orgt.  and  teacher  there. 

Rochlitz  (r6k'-litz),  Johann  Friedrich, 
writer,  b.  Leipzig,  Feb.  12,  1769; 
d.  there,  Dec.  16,  1842.  Studied 
music  with  Doles  at  Thomasschule, 
theology  at  Univ.;  wrote  novels 
touching  music;  founded  Attgemeine 
musikalische  Zeitung  1798,  editor  to 
1818,  contributor  to  1835  (one  of 
first  to  recognize  Beethoven's  great- 
ness); director  of  Gewandhaus  con- 
certs after  1805;  wrote  Fur  Freunde 
der  Tonkunst,  collected  essays,  bio- 
graphical studies,  etc. 

Rockstro  [originally  Rackstraw],  Wil- 
liam Smyth,  writer,  b.  North  Cheam, 
Surrey,  Jan.  5,  1823;  d.  London,  July 
2,  1895.  Pupil  at  Leipzig  of  Men- 
delssohn, Hauptmann,  and  Plaidy; 
taught  pf.  and  singing  in  London; 
lived  at  Torquay;  orgt.  Babbacombe; 
lectured  at  Royal  Acad.  after  1891, 
taught  plain  song  at  Royal  Coll. 
Mus.;  wrote  Practical  Harmony, 
lives  of  Handel,  Mendelssohn,  Jenny 
Lind,  General  History  of  Music, 
History  of  Music  for  Young  Students; 
composed  madrigal,  0  too  cruel  fair, 
sacred  cantata;  edited  psalter,  with 
accomp. 

Rode  (rod'),  Jacques  Pierre  Joseph, 
vlt.  b.  Bordeaux,  Feb.  16,  1774;  d. 
Chateau-Bourbon,  near  Damazon, 
Nov.  25,  1830.  Pupil  of  Fauvel  and 
Viotti;  d£but  Paris  1790;  leader  of 
2d  vlns.  at  Th.  Feydeau  1790-94; 
solo  vlt.  Ope>a  1794-99;  tours  in 
Holland,  Germany,  and  to  London; 


ROGERS 

prof,  at  Cons.  1795;  solo  vlt.  to 
Napoleon  1800,  to  Emp.  Alexander 
of  Russia  1803-08,  having  gone  there 
with  Boieldieu;  after  further  tours 
in  Germany,  etc.,  lived  in  Berlin 
before  retiring  to  Bordeaux;  Boc- 
cherini  wrote  concertos  for  him  in 
Spain  1799,  Beethoven  finished 
sonata  Op.  96  in  Vienna;  final  ap- 
pearance in  Paris?  1828  a  failure; 
compositions  include  concertos,  quar- 
tet, etc.  no  longer  popular;  but  a 
Method  (written  with  Baillot  and 
Kreutzer)  endures,  as  do  his  24 
Caprices  en  forme  d' etudes. 

Rbder  (reader),  Martin,  compr.  b. 
Berlin,  Apr.  7,  1851;  d.  Cambridge, 
Mass.,  June  10,  1895.  Studied  at 
Berlin  Hochschule;  chorusmaster 
at  Milan  Th.  1873-80;  organized 
Choral  Soc.  there;  after  some  ex- 
perience as  opera  condr.,  taught 
singing  in  Berlin,  at  Scharwenka 
Cons.  1881-87;  prof,  at  Royal  Acad. 
Mus.  in  Dublin  1887-92;  director 
vocal  dept.  N.  E.  Cons.,  Boston,  after 
1892;  composed  3  operas  (Vera 
only  one  produced),  2  mysteries, 
symphonic  poems,  songs;  also  wrote 
essays  in  German  and  Italian. 

Roeckel  (r6k'-el),  Joseph  Leopold,  pst., 
teacher,  b.  London,  Apr.  11,  1838; 
d.  1908.  Studied  with  father  and 
with  brother  Eduard,  with  Eisen- 
hofer  and  Gotze;  prolific  song  compr., 
also  wrote  cantatas  (Fair  Rosa- 
mond, Ruth,  etc.),  baritdne  scena 
Siddartha;  used  pseud.  Eduard  Dorn; 
married  Jane  Jackson,  pst.,  teacher, 
compr.,  under  pseud.  Jules  de  Sivrai. 

Rogers,  Clara  Kathleen,  soprano,  b. 
Cheltenham,  Eng.,  Jan.  14,  1844. 
Daughter  of  John  Barnett,  compr. 
Pupil  of  parents,  of  Gotze,  after  1860 
of  Moscheles,  Richter,  etc.  at  Leipzig 
Cons.,  of  Sangiovanni  at  Milan; 
d£but  Turin  1863,  under  stage  name 
Clara  Doria;  sang  in  Italy,  London, 
in  U.  S.  with  Parepa-Rosa  Co.,  with 
Maretzek  Co.  1872-73;  married 
Henry  M.  Rogers,  Boston,  1878; 
wrote  songs,  Philosophy  of  Singing 
and  My  Voice  and  I  (1910). 

Rogers,  James  Hotchkiss,  orgt.,  compr. 
b.  Fair  Haven,  Conn.,  Feb.,  1857. 
Pupil  of  J.  M.  Towne,  C.  Eddy;  in 
Berlin  with  Loeschhorn,  Ehrlich, 
Haupt,  and  Rohde,  and  in  Paris 


ROHDE 

with  Guilmant,  Widor,  and  Fissot; 
orgt.  in  Burlington.  la.;  since  1883 
in  Cleveland,  0.,  as  orgt.,  teacher, 
dir.  of  Rubinstein  Club;  compr.  of 
Lenten  cantata  The  Man  of  Naza- 
reth, Easter  The  New  Life,  songs, 
pf.  pieces,  anthems,  etc. 

Rohde  (ro'-da),  Eduard,  compr.,  teacher. 
b.  Halle-on-Saale,  1828;  d.  Berlin, 
Mar.  25,  1883.  Choirmaster  St. 
Georgenkirche;  singing  teacher  at 
Sophien  Gymnasium;  compr.  of  ex- 
cellent motets,  cantata  Schildhorn, 
and  an  elementary  text-book  for  pf. 

Rolla,  Alessandro,  vlt.  b.  Pavia,  Apr. 
22,  1757;  d.  Milan,  Sept.  15,  1841. 
Studied  with  Renzi  and  Conti;  court 
soloist  at  Vienna,  leader  of  ducal 
orch.  at  Parma;  maestro,  solo  vlt. 
to  Eugene  Beauharnais,  prof,  at  Cons, 
at  Milan;  teacher  of  Paganini;  com- 
posed ballet,  concertos,  etc.  for  vln. 

Romberg,  Andreas  Jakob,  vlt.  b. 
Vechta,  near  Miinster,  Apr.  27,  1767; 
d.  Gotha,  Nov.  10,  1821.  Son  of  Ger- 
hard Heinrich  R.  (174571819),  clari- 
net player  and  mus.  dir.;  d£but  at 
7;  on  tour  with  cousin  Bernhard  R. 
1784;  soloist  Concerts  spirituels  Paris 
1784;  member  Bonn  orch.  1790-93; 
after  tours  in  Italy  and  unsuccessful 
attempt  to  produce  compositions  in 
Paris,  succeeded  Spohr  as  capell- 
meister,  Gotha,  1815;  composed  8 
operas,  Das  Lied  von  der  Glocke  and 
other  cantatas,  psalms,  etc.  His 
cousin  Bernhard  Romberg,  'cellist. 
b.  Dincklage,  near  Miinster,  Nov. 
12,  1767;  d.  Hamburg,  Aug.  13,  1841. 
Son  of  Anton  (1742-1814),  bassoon- 
ist, brother  of  Gerhard;  went  on 
tour  throughout  Europe  with  An- 
dreas; prof,  at  Paris  Cons.  1800-03; 
soloist  in  Berlin  court  orch.  1805, 
capellmeister  1815-19;  composed  9 
concertos,  caprices,  etc.  on  national 
airs,  operas,  etc. 

Ronald,  L.,  see  Russell,  Landon. 

Ronconi  (ron-ko'-nl),  Giorgio,  baritone, 
singing  teacher,  b.  Milan,  Aug.  6, 
1810;  d.  Madrid,  Jan.  8,  1890.  Son 
of  Domenico  R.  (1772-1839),  tenor; 
established  music  school  at  Cordova 
1863;  taught  in  New  York  1867. 

Rbntgen  (r£nt'-gen),  Julius,  pst.  b. 
Leipzig,  May  9,  1855.  Son  of  Engel- 
bert  (1829-1897),  vlt.;  pupil  of 


ROPARTZ 

Hauptmann,  Richter,  Plaidy,  etc., 
and  of  F.  Lachner  in  Munich;  d£but 
Stuttgart  1875;  teacher  Amsterdam 
Mus.  Sen.  1878;  cpndr.  of  concerts 
of  Soc.  for  Promotion  of  Mus.  1886- 
1898;  one  of  founders  of  Amster- 
dam Cons.;  popular  as  player  and 
teacher;  composed  chamber  music, 
symph.,  ballad  for  orch.,  edited 
14  altniederlandische  Volkslieder. 

Root,  George  Frederick,  teacher,  compr. 
b.  Sheffield,  Mass.,  Aug.  30,  1820; 
d.  Barley's  Island,  Aug.  6,  1895. 
Taught  flute  playing  by  father, 
learned  other  instruments  easily; 
in  music  store  in  Boston  1836,  mem- 
ber Boston  Academy  chorus,  pupil 
of  G.  J.  Webb;  1850  studied  in  Paris; 
Flower  Queen,  first  cantata  by 
American  compr.,  published  over 
pseud.  G.  Friedrich  Wurzel;  1853 
opened  Normal  Music  Institute; 
1858  member  of  publishing  firm 
Root  and  Cady  in  Chicago;  compiled 
alone  or  with  others  many  collections 
of  part-songs  Academy  Vocalist, 
Sabbath  Bell,  etc. ;  most  widely  known 
as  prolific  compr.  of  Civil  War  songs 
(The  Battle-cry  of  Freedom,  Just 
before  the  battle,  mother,  Tramp, 
tramp,  tramp,  the  boys  are  marching) 
and  songs  of  religion  and  sentiment 
(The  vacant  chair,  Knocking,  knock- 
ing, etc.).  R.  was  pioneer  in  writing 
of  cantatas,  war  songs,  and  gospel 
hymns;  in  his  autobiography  Story 
of  a  Musical  Life,  he  says:  tf  I  am  one 
who,  from  such  resources  as  he  finds 
within  himself,  makes  music  for  the 
people,  having  always  a  particular 
need  in  view.  His  son  Frederick 
Woodman  R.,  singing  teacher,  b. 
Boston,  Mass.,  June  13, 1846.  Pupil 
of  father,  B.  C.  Blpdgett,  and  Wm. 
Mason;  orgt.  in  Chicago;  after  study 
hi  Europe  1869-70,  edited  Song 
Messenger. 

Rooy,  Anton  van,  see  Van  Rooy. 

Ropartz  (ro-parts),  J.  Guy,  compr., 
condr.,  critic,  writer,  b.  Guingamp, 
June  15,  1864.  Studied  for  the  bar; 
pupil  of  Dubois  and  Massenet  at  the 
Paris  Conservatory,  and  later  of 
Cesar  Franck;  dir.  of  Conservatory 
at  Nancy  1894;  wrote  orchestral  and 
choral  works,  incidental  music  for 
plays,  chamber  music,  piano  and 
organ  pieces  and  songs. 


RORE 


ROSSINI 


Rore,  Cipriano  de,  compr.  b.  Mechlin 
or  Antwerp,  1516;  a.  Parma,  Sept. 
1565.  Pupil  of  Willaert;  in  service 
of  Duke  of  Ferrara;  asst.  and  suc- 
cessor 1563  to  Willaert  as  maestro 
at  St.  Mark's,  Venice;  soon  after 
chorusmaster  to  Duke  of  Parma; 
published  first  book  of  madrigals 
1542,  various  later  ones,  motets,  and 
3  masses;  "  he  went  much  beyond 
his  master  and  his  school  in  the  free 
and  dexterous  use  of  chromatic 
tones  and  harmonies,  and  his  style 
has  a  novel  richness  and  geniality." 
[Pratt.] 

Rosa,  Carlo  [real  name  Carl  August 
Nicolas  Rose],  impresario,  b.  Ham- 
burg, Mar.  21,  1842;  d.  Paris,  Apr. 
30,  1889.  Made  early  tours  as  vlt.; 
after  study  at  Leipzig  and  Paris 
Cons.,  concertmaster  at  Hamburg 
1863-65;  on  concert  tour  1867,  met 
and  married  Parepa,  singer;  opera 
company  they  organized  played 
successfully  in  U.  S.  and  in  London; 
after  Parepa's  death  1874,  R.  con- 
tinued as  Carl  Rosa  Co.  seasons  of 
English  opera  in  London  and  prov- 
inces. 

Rosellen  (ro-zel-lan),  Louis  Henri,  pf. 
teacher,  b.  Paris,  Oct.  13,  1811;  d. 
there,  Mar.  20,  1876.  Pupil  of  Prad- 
her,  Zimmermann,  Fe"tis,  HaleVy, 
etc.  at  Paris  Cons.,  and  of  H.  Herz; 
re'pe'titeur  in  solfeggio  at  Cons.;  pub- 
lished useful  Manuel  des  pianistes, 
and  over  200  pf.  pieces,  very  popular 
in  their  day. 

Rosenhain  (ro'-zen-hin),  Jakob,  pst. 
b.  Mannheim,  Dec.  2, 1813;  d.  Baden- 
Baden,  Mar.  21,  1894.  Pupil  of 
Schmitt  and  Schnyder  von  Warten- 
see;  tour  as  prodigy  at  9;  lived  at 
Frankfort,  Paris,  and  Baden-Baden; 
accompanied  Paganini  1830;  dis- 
tinguished teacher  and  able  per- 
former; compr.  of  operas,  sym- 
phonies, pf.  concertos  and  other 
orch.  works,  pf.  mus.,  and  songs. 

Rosenthal  (ro'-zen-tal),  Moritz,  pst. 
b.  Lemberg,  Dec.  18,  1862.  Pupil 
of  Galoth  who  left  him  to  work 
out  own  technic,  of  Mikuli,  and 
Joseffy;  d£but  Vienna  1876,  followed 
by  tour;  pupil  of  Liszt  1876-86,  at 
both  Weimar  and  Rome,  at  same 
time  studying  philosophy  at  Vienna 
University;  after  6  years  without 


public  appearance,  he  played  at 
Liszt  Verein  in  Leipzig,  in  America 
with  Kreisler  1888-89,  where  he 
gained  first  great  success;  following 
seasons  in  Europe  have  been  marked 
by  increasing  enthusiasm;  his  tech- 
nic is  prodigious,  and  he  is  some- 
times accused  of  displaying  it  at  the 
cost  of  good  taste;  others  claim  that 
he  gives  adequate  artistic  expres- 
sion to  a  virile  temperament,  quite 
free  from  sentimentality. 

Rossi,  Countess,  see  Sontag,  Henriette. 

Rossini  (ros-se'-nl), Gioacchino Antonio, 
compr.  b.  Pesaro,  Feb.  29,  1792;  d. 
Ruelle,  near  Paris,  Nov.  13,  1868. 
Father  town  trumpeter  and  mother 
amateur  singer;  pupil  pf  A.  Tesei  at 
Bologna  and  of  Mattei  for  composi- 
tion, giving  himself  further  training 
by  copying  scores;  1st  opera  pro- 
duced Venice  1810;  first  serious  opera 
Tancred  1813,  followed  by  L'ltaliana 
in  Algeri,  so  firmly  established  his 
reputation  that  he  agreed  to  supply  2 
operas  a  year  to  Barbaja  at  Naples; 
besides  this  contract,  composed 
Barber  of  Seville  (Rome  1816)  in 
three  weeks;  jealousy  for  Paisiello's 
work  on  same  subject  made  first 
performance  a  failure,  but  the  sec- 
ond was  a  triumph;  wrote  for  Bar- 
baja in  Milan  and  Naples  about  28 
operas;  cool  reception  of  Semira- 
mide,  Venice,  1823,  made  him  go  to 
London  where  he  gained  fortune 
from  concerts  and  lessons;  after  five 
months  went  to  Paris  as  director  of 
Theatre  Italien;  R.  became  thor- 
oughly French  and  produced  for 
Paris  Ope>a,  1829,  his  French  opera 
William  Tell;  thereafter  fell  into 
inexplicable  inactivity,  writing  prac- 
tically nothing  else  but  the  Stabat 
Mater  1832;  married  singer  Isa- 
bella Colbran,  later  Olympe  Pelis- 
sier.  As  a  man  he  was  brilliant, 
witty,  cynical,  pleasure-loving;  in 
music  he  differed  from  his  Italian 
forerunners  in  his  use  of  full  accom- 
paniments in  place  of  older  recitativo 
secco,  in  development  of  orchestral 
variety,  especially  in  horn  parts,  in 
composition  of  cadenzas  (not  leav- 
ing them  to  singers);  he  falls  short 
of  later  composers  in  idealism;  he 
wrote  quite  frankly  for  popularity 
both  with  singers  and  audience,  sup- 
plying voice  parts  of  originality  and 


ROTOLI 


RUBINSTEIN 


brilliancy;  his  great  fertility  in  in- 
vention of  melody  led  to  too  great 
facility  and  frivolity;  but  just  these 
qualities  when  they  are  appropriate, 
as  in  the  Barber  of  Seville,  make  a 
masterpiece. 

Rotoli  (rot-o-ll),  Augusto,  compr.  b. 
Rome,  Jan.  7,  1847;  d.  Boston,  Nov. 
26,  1904.  Pupil  of  Lucchesi;  chor- 
ister at  St.  Peter's;  condr.  and 
founder  of  choral  soc.;  teacher  of 
princess;  maestro  of  royal  chapel  of 
Sudario  1878;  vocal  instructor  New 
England  Cons,  after  1885;  choir- 
director  at  St.  James  Church,  Bos- 
ton, after  1896;  compr.  of  Roman 
Mass,  many  songs,  and  secular 
comp.;  successful  teacher. 

Rouget  de  L'Isle  (ro-zha-de'-lel),  Claude 
Joseph,  compr.  b.  Lons-le-Saunier, 
Jura,  May  10,  1760;  d.  Choisy-le- 
Roi,  June  26,  1836.  Composed 
French  national  hymn,  La  Marseil- 
laise, 1792,  while  military  engineer 
at  Strassburg;  later  in  Paris  com- 
posed Chant  du  combat,  etc.,  25 
Romances  and  50  Chants  fran$ais. 

Rpugnon  (ro-non),  Paul  Louis,  compr. 
b.  Poitiers,  Aug.  24,  1846.  Student 
at  Paris  Cons.  (1st  prize  counter- 
point and  fugue  1870)  where  he 
became  prof,  of  solfeggio  1885; 
composed  2  operas,  pf.  studies  and 
pieces;  author  of  Dictionnaire  mus- 
ical des  locutions  etr  anger  es. 

Rousseau  (ro-so),  Jean  Jacques,  theor- 
ist, b.  Geneva,  June  28,  1712;  d. 
Ermenonville,  near  Paris,  July  3, 
1778.  Though  not  trained  in  music, 
soon  after  coming  to  Paris  he  copied 
music  for  living,  wrote  articles  on 
music  for  the  Encyclopedic,  pam- 
phlets on  notation,  and  entered  the 
Guerre  des  bouffons  on  the  side  of 
Italian  music;  his  Lettre  sur  la 
musique  franchise  went  so  far  as  to 
deny  all  musical  or  melodic  possi- 
bilities to  the  French  language;  his 
own  opera  Le  devin  du  village  prod, 
at  Fontainebleau  1752  and  Paris  1753 
was  simple  pastoral;  his  Pygmalion 
1775  is  accompanied  declamation. 

Rousseau,  Samuel  Alexandra,  compr. 
b.  Neuve-Maison,  Aisne,  June  11, 
1853;  d.  Paris,  Oct.  1,  1904.  Pupil 
at  Paris  Cons.;  Prix  de  Rome  1878; 
chef  d'orchestre  at  Th.  Lyrique  after 
1892;  maltre  de  chapelle  at  Ste. 


Clothilde;  chorusmaster  Soc.  des 
Concerts;  critic  for  L' Eclair;  prof, 
of  harmony  at  Cons.;  composed 
operas  which  had  not  striking  suc- 
cess (La  cloche  du  Rhin,  etc.),  masses, 
psalms,  etc. 

Rowbotham,  John  Frederick,  writer. 
b.  Edinburgh,  Apr.  18,  1854.  Stud- 
ied at  Oxford,  at  Stern  Cons.,  Berlin, 
Paris,  Vienna,  etc.;  author  of 
History  of  Music  [as  far  as  trou- 
badours], How  to  write  music  cor- 
rectly, Private  life  of  great  composers, 
The  troubadours  and  courts  of  love. 

Roze,  Marie  Hippolyte  [nee  Ponsin], 
soprano,  b.  Paris,  Mar.  2,  1846. 
Pupil  of  Mocker  at  Cons.,  1st  prizes 
in  singing  and  opera  1865;  de"but 
Ope>a  Com.,  1865,  led  to  engage- 
ments there  and  at  Ope>a  until  1870 
when  she  went  to  the  war;  there- 
after she  sang  in  London;  married 
Henry  Mapleson;  in  America  1877; 
member  Carl  Rosa  Co.  1883-89;  Car- 
men favorite  part;  after  1890  teach- 
ing in  Paris;  farewell  tour  1894. 

Rubini  (ru-be'-ne),  Giovanni  Battista, 
tenor,  b.  Romano,  near  Bergamo, 
Apr.  7,  1795;  d.  near  there,  Mar.  2, 
1854.  Pupil  of  father  Rosio;  d6but 
Pavia  1814;  sang  at  Naples,  Vienna, 
Milan,  Paris,  success  mounting  to 
triumph  during  last  three  engage- 
ments; 1832^43  alternately  in  Lon- 
don and  Paris;  went  with  Liszt  to 
Berlin  1843;  retired  with  fortune 
1845;  his  methods  influenced  comprs. 
of  period,  Rossini,  Donizetti,  and  es- 
pecially Bellini;  a  poor  and  indiffer- 
ent actor,  he  was  master  of  every  kind 
of  ornament  and  of  simple  melody. 

Rubinstein  (ro'-bin-stin),  Anton  Gre- 
gorovitch,  pst.,  compr.  b.  Wech- 
wotynecz,  Bessarabia,  Nov.  28, 
1829;  d.  Peterhof,  near  St.  Peters- 
burg, Nov.  20,  1894.  Pupil  of  his 
mother  and  Villoing;  played  with 
teacher  in  Paris;  on  advice  of  Liszt 
studied  with  Dehn  in  Berlin;  in 
Vienna  and  Hungary  1846-48, 
teaching  and  playing;  in  St.  Peters- 
burg, composed  several  Russian 
operas  (Dimitri  Donskoi,  etc.);  fur- 
ther tours  in  Western  Europe  1854- 
58;  condr.  of  St.  P.  Music  Soc. 
1859;  founder  of  Cons.,  director 
1862-67  and  later  1887-90;  con- 
ducted Philh.  Soc.  and  Choral  Soc. 


RUBINSTEIN 


RUSSELL 


Vienna  1871-72;  1867-70  in  Europe, 
1872-73  in  America  his  triumphs  as 
pst.  were  continuous;  as  pst.  his 
technic  rivaled  even  Liszt's,  but 
his  playing  was  even  more  note- 
worthy for  its  variety  of  emotion 
and  almost  magic  charm.  His  great 
ambition  was  to  be  known  as  a 
compr.,  and  he  wrote  songs,  many 
pf.  pieces,  quartets  and  sonatas,  6 
symphonies  (of  which  the  2d,  Ocean 
symph.,  has  7  movements),  mus. 
character  pieces,  overtures,  5  pf. 
concertos,  vln.  concerto,  2  for  'cello, 
operas  and  oratorios  (Feramors,  Der 
Damon,  Das  verlorene  Parodies,  Nero, 
etc.).  His  compositions  suffered  be- 
cause of  his  lack  of  sympathy  for 
contemporary  movements;  he  ad- 
mired classical  form  and  disliked 
works  of  Wagner,  Liszt,  and  Berlioz; 
but  beside  this  his  lack  of  ability  to 
criticize  his  own  work  left  much  of  it 
tedious;  his  smaller  works,  notably 
the  songs  and  some  of  the  pf .  pieces, 
attain  greatness;  the  larger  ones,  with 
the  exception  of  the  D  minor  con- 
certo, seem  to  be  passing  from  sight, 
though  some  critics,  among  them 
Saint-Saens,  hold  that  "  when  we 
have  passed  over  the  fashion  of  ex- 
treme modulation,  when  we  have 
ignored  the  strivings  after  effect  and 
complication  .  .  .  .  "  we  may  come 
back  to  his  strong  simplicity. 

Rubinstein,  Nikolai  Gregorovitch,  pst. 
[brother  of  Anton  R.].  b.  Moscow, 
June  2,  1835;  d.  Paris,  Mar.  23. 
1881.  Pupil  at  Berlin  of  Dehn  and 
Kullak;  founded  1859  Moscow  Mus. 
Soc.  which  established  Moscow 
Cons.,  1866,  of  which  R.  was  director 
until  death;  conducted  concerts  in 
Moscow,  St.  Petersburg,  and  1878 
in  Paris;  as  pst.  resembled  his 
brother;  distinguished  as  teacher  of 
Taneiev,  Siloti,  Sauer,  etc. 

Riibner  (riib'-ner),  Cornelius,  pst.  b. 
Copenhagen,  Oct.  26,  1853.  Pupil 
of  Gade  and  Reinecke;  condr. 
Carlsruhe  Philharmonic  Soc.  1892- 
1904;  appointed  prof,  of  mus.  at 
Columbia  Univ.,  New  York,  March 
1904,  to  succeed  E.  A.  MacDowell. 

Ruckers,  harpsichord  makers  at  Ant- 
werp. Hans,  Sr.,  d.  about  1642, 
had  four  sons:  Franz,  b.  1576;  Hans, 
Jr.,  b.  1578;  Andries,  b.  1579;  and 
Anton,  b.  1581;  of  whom  2d  and 


3d  were  especially  noted;  Andries 
Jr.  (1607-1667),  also  maker;  instru- 
ments of  this  family  are  scarce,  but 
all  of  a  singularly  sweet,  pure  tone; 
many  of  them  very  elaborately 
painted,  inside  and  out. 

Riickauf  (riik'-ouf),  Anton,  compr.  b. 
Prague,  Mar.  13,  1855;  d.  Schloss 
Alt-Erlaa,  Austria,  Sept.  19,  1903. 
Pupil  at  Prague  Organ  Sch.  and  of 
Proksch  (at  whose  institute  he 
taught),  on  gov't  stipend,  studied 
with  Nottebohm  and  Navratil  in 
Vienna,  where  he  lived;  aided  in  song 
comp.  by  his  friend  Gustav  Walter; 
wrote  about  80  songs,  modern  in 
feeling,  for  both  voice  and  pf. 

Rudersdorff  (roo'-ders-dorf),  Hermine, 
dram.  sop.  b.  Ivanowsky,  Ukraine, 
Dec.  12,  1822;  d.  Boston,  Mass., 
Feb.  26,  1882.  Pupil  of  Bordogni 
and  Micherout;  concert  singer  in 
Germany  1840;  after  1841  opera  at 
Carlsruhe,  Frankfort,  Breslau,  Ber- 
lin, and  London  1854-65;  married 
Dr.  Kiichenmeister  1844;  sang  at 
Boston  Jubilees  1871-72;  remained 
there  as  teacher  (Emma  Thursby 
among  pupils) ,  and  as  concert  singer. 

Rumford,  Robert  Henry  Kennerley, 
see  under  Butt,  Clara. 

Rummel,  Franz,  pst.  b.  London,  Jan. 
11,  1853;  d.  Berlin,  May  3,  1901. 
Pupil  of  Brassin  at  Brussels  Cons., 
1st  prize  1872;  tour  in  Holland  with 
Ole  Bull  and  Minnie  Hauck  1877-78; 
American  tours  1878,  1886,  1898; 
taught  in  Berlin  at  Stern  Cons.;  lived 
for  some  time  at  Dessau;  distin- 
guished pst.  and  comp.  for  pf. 

Russell,  Henry,  baritone,  compr.  b. 
Sheerness,  Dec.  24,  1812;  d.  Maida 
Vale,  London,  Dec.  8,  1900.  Studied 
in  Bologna,  with  Rossini  in  Naples; 
singer  in  London  1828  and  Canada 
1833;  orgt.  in  Rochester,  N.  Y.; 
gave  concerts  in  U.  S.  and  England; 
composed  many  famous  songs,  A 
life  on  the  ocean  wave,  Cheer,  boys, 
cheer  (official  army  and  navy  songs), 
Woodman  spare  that  tree;  success  in 
dramatic  songs,  The  maniac,  etc.; 
2  volumes  of  memoirs.  Son  Henry, 
singing  teacher,  impresario.  Covent 
Garden  and  Boston  Opera  Co.  Son 
Landon,  b.  London,  June  7,  1873, 
compr.,  under  pseud.  Landon  Ronald, 


RUSSELL 


SAFONOFF 


of  many  popular  songs;  pst.  with 
L' Enfant  prodigue  1891,  condr.  at 
Drury  Lane  Th.  1896;  1910  director 
of  Guildhall  School  of  Music,  succeed- 
ing Wm.  H.  Cummings. 

Russell,  Louis  Arthur,  teacher,  writer. 
b.  Newark,  N.  J.,  Feb.  24,  1854. 
Pupil  of  Warren  and  Miiller  in  New 
York,  of  Tours,  Shakespeare,  and 
Henschel  in  London;  orgt.  in  New- 
ark 1878-95;  condr.  Schubert  Vocal 
Soc.,  etc.;  founder  of  Newark  Coll. 
of  Mus.  where  he  is  director,  teacher 
of  singing,  pf.,  and  theory;  author 
of  Embellishments  of  Music,  The 
Commonplaces  of  Vocal  Art,  English 
Diction  for  Singers  and  Speakers. 

Rust,  Wilhelm,  orgt.,  editor,  b.  Des- 
sau, Aug.  15,  1822;  d.  Leipzig, 
May  2,  1892.  Pupil  of  uncle  W.  C., 
and  Schneider;  in  Berlin,  teacher, 
orgt.,  condr.  of  BachVerein  1862-74, 
teacher  of  theory  Stern  Cons.;  1878 
in  Leipzig,  orgt.  at  Thomaskirche, 
teacher  in  Cons.,  1880  cantor  at 
Thomasschule;  composed  motets 
and  choruses;  distinguished  co- 
editor  of  works  of  Bach,  publ.  by 
Bach  Gesellschaft. 


Ruthardt  (root'-hardt),  Adolf,  pf. 
teacher,  b.  Stuttgart,  Feb.  9,  1849. 
Student  at  Cons,  there;  teacher  in 
Geneva  1868-85,  at  Leipzig  Cons, 
since  1886;  wrote  Das  Klavier:  ein 
geschichtlicher  Abriss,  Chormeister- 
Buchlein  (biographies)  and  some 
volumes  of  Eschmann's  Wegweiser. 

Ryan,  Thomas,  clarinet  and  viola 
player,  b.  Ireland,  1827;  d.  New 
Bedford,  Mass.,  Mar.  5,  1903. 
Came  to  U.  S.  1844,  studied  in 
Boston;  original  member  of  Men- 
delssohn Quintet  Club  formed  in  1849 
(other  members  A.  and  W.  Fries,  F. 
Riha,  and  Lehmann),  and  only 
member  who  persisted  during  40 
years  of  the  club  and  its  wide  tours; 
published  Recollections  of  an  old 
musician  1899. 

Ryder,  Thomas  Philander,  orgt.  b. 
Cohasset,  Mass.,  June  29,  1836;  d. 
Someryille,  Mass.,  Dec.  2,  1887. 
Pupil  of  G.  Satter;  orgt.  at  Tremont 
Temple,  teacher,  successful  choral 
director,  gifted  accomp.;  popular 
piano  transcriptions  of  Old  Oaken 
Bucket,  Nearer  my  God  to  Thee, 
etc. 


Saar  (sar),  Louis  Victor  Franz,  compr., 
critic,  b.  Rotterdam,  Dec.  10,  1868. 
Pupil  of  Rheinberger  and  Abel  at 
Munich  Cons,  and  of  Brahms  in 
Vienna;  accompanist  to  New  York 
Opera  1892-95;  teacher  of  counter- 
point and  comp.  at  Nat'l  Cons. 
1896-98,  at  Coll.  of  Mus.,  Cincin- 
nati. 1909;  critic  for  Staats-Zeitung 
and  New  York  Review;  comp.  for  pf. 
and  many  songs. 

Sacchini  (sa-ke'-ne),  Antonio  Maria 
Gasparo,  compr.  b,  Pozzuoli,  near 
Naples,  July  23,  1734;  d.  Paris, 
Oct.  8,  1786.  Son  of  fisherman; 
aided  by  Durante,  studied  with  him, 
Fiorenza,  and  Manna  at  Cons,  in 
Naples;  success  of  early  operas  so 
great  that  he  rivaled  Piccini  in 
Rome;  after  Alessandro  nell'  Indie 
1768,  director  of  Cons,  in  Venice; 
lived  in  London  1772-82,  producing 
several  operas;  fled  for  debt  to  Paris, 
where  he  produced  remodeled  operas 
and  two  new  ones  Dardanus  and 


CEdipe  a  Colone;  in  later  works 
influenced  by  Gluck;  operas  care- 
fully, effectively  composed,  obsolete 
because  lacking  in  originality. 

Sachs  (saks),  Hans,  master  singer,  b. 
Nuremberg,  Nov.  5,  1494;  d.  there, 
Jan.  19,  1576.  Wrote  some  5000 
poems  and  tales,  composing  numer- 
ous melodies;  most  important  of 
Nuremberg  mastersingers;  shoe- 
maker by  trade;  represented  by 
Wagner  in  Die  Meistersinger. 

Safonoff  (saf-5n'-of),  Wasili,  condr.  b. 
Istchory,  Caucasus,  Feb.  6,  1852. 
Pupil  of  Zaremba,  Brassin,  and  Les- 
chetizky  at  St.  Petersburg  Cons., 
where  he  taught  1881-85;  teacher 
1885  and  director  Moscow  Cons. 
1889-90;  Goedicke  and  Lhe'vinne 
his  pupils;  condr.  in  various  cities, 
St.  Petersburg  Imperial  concerts 
1890,  Vienna,  New  York  Philhar- 
monic 1904-1909;  conducts  with- 
out baton,  with  great  skill  and  the 
force  of  magnetic  personality. 


SAINTON 


SALMON 


Sainton  (san-ton),  Prosper  Philippe 
Catherine,  vlt.  b.  Toulouse,  June  5, 
1813;  d.  London,  Oct.  17,  1890. 
Studied  with  Habeneck  at  Paris 
Cons.,  1st  prize  1834;  member 
Ope>a  and  Cons,  orchestra;  taught 
Toulouse  Cons.  1840-44,  at  London 
Royal  Acad.  after  1845;  leader 
Philharmonic  1846-54,  of  Sacred 
Harmonic  Soc.  after  1848,  at  Covent 
Garden,  etc.;  composed  vln.  con- 
certos, solos,  etc.  His  wife  Sainton- 
Dolby,  Charlotte  Helen,  contralto, 
b.  London,  May  17,  1821;  d.  there, 
Feb.  18,  1885.  Pupil  of  Mrs.  Mon- 
tague and  at  Royal  Acad.  of  Ben- 
nett, Crivelli,  and  Elliott;  de"but 
Philharmonic  concert  1841;  sang 
on  Continent;  from  time  of  her 
marriage  1860  to  1870  leading  singer 
in  concert  and  oratorio;  Mendels- 
sohn wrote  contralto  part  in  Elijah 
for  her  voice  and  dedicated  songs  to 
her;  1872  opened  vocal  academy; 
also  composed  cantatas  and  songs. 

Saint-Saens  (sanrs6ns')  ,Charles  Camille, 
compr.  b.  Paris,  Oct.  9,  1835.  Pre- 
cocious pst.;  pupil  at  Cons,  of  Stam- 
aty,  Maleden,  Hale"vy,  and  Benoist; 
1st  organ  prize  1851;  orgt.  St.  Me"ry 
1853,  Madeleine  1858-77;  pf.  teacher 
at  Niedermeyer  Sch.;  resigned  all 
positions  1870;  as  pst.  and  orgt.  has 
long  held  enviable  reputation  in 
Europe  (America  1906);  has  com- 
posed for  stage  La  princesse  jaune, 
Samson  et  Dalila  (Weimar  1877),  Les 
barbares  (1901),  etc.,  several  can- 
tatas, five  pf .  concertos,  three  violin 
concertos,  chamber  music,  and  many 
pieces  for  pf.,  beside  symphonic 
poems,  by  which  he  is  most  widely 
known,  Phaeton,  Le  rouet  d' Omphale, 
La  jeunesse  d'  Hercule,  and  Le  danse 
macabre;  has  published  essays  Har- 
monic et  melodie,  Portraits  et  souve- 
nirs, Essai  sur  les  lyres  et  cithares; 
dryness  of  which  his  music  is  often 
accused  is  due  partly  to  following  of 
scholastic  formulas,  which  -his  great 
skill  enables  him  to  do;  vivid  roman- 
tic coloring  in  his  symph.  poems. 

Salaman,  Charles  Kensington,  pst.  b. 
London,  Mar.  3,  1814;  d.  there,  June 
23,  1901.  Studied  with  Rimbault 
and  C.  Neate,  and  after  London 
d^but  1828,  with  Herz  in  Paris; 
taught  in  London  after  1831;  gave 
annual  orchestral  concerts,  founded 


chamber  concerts,  Mus.  Soc.,  and 
Mus.  Ass'n;  lived  in  Munich,  Vienna, 
and  Rome  1836  and  1846;  contrib- 
utor to  Times,  Concordia,  etc.;  com- 
posed songs  (/  arise  from  dreams  of 
thee),  music  for  Jewish  synagogue, 
etc. 

Saleza  (sa-la'-za),  Luc  Albert,  dram, 
tenor,  b.  Bruges,  B£arn,  Oct.  18, 
1867.  Won  1st  prize  in  singing  and 
opera  at  Paris  Cons.  1888;  de'but 
Ope>a  Com.  1888;  sang  at  Nice, 
Grand  Ope"ra,  Paris,  Monte  Carlo, 
New  York  1899-1901. 

Salieri  (sal-e-a'-rf),  Antonio,  compr.  b. 
Legnano  (Verona),  Aug.  19,  1750; 
d.  Vienna,  May  7,  1825.  Studied 
with  brother  Francesco,  vlt.,  and 
Simoni,  orgt.,  and  with  Pescetti  and 
Pacini  at  Venice;  taken  to  Vienna 
by  Gassmann  for  whom  he  acted  as 
substitute  and  whom  he  succeeded 
as  Italian  opera  condr.  and  chamber 
musician;  intimate  pupil  of  Gluck 
who  helped  him  bring  out  Les  Dan- 
aides  at  Paris  (at  first  announced  as 
joint  production,  but  G.  gave  S.  full 
credit  after  success);  next  success 
with  Tarare,  revised  as  Axur,  re 
d'  Ormus;  court  capellmeister  Vienna 
1788-1824;  composed  about  40 
operas,  skilfully  written  both  for 
voice  and  instruments,  none  of 
which  survived. 

Salmon,  Alvah  Glover,  pst.,  compr.  b. 
at  Southold,  N.  Y.,  Sept.  23,  1868. 
His  father  was  in  business,  but  pre- 
vious generations  included  members 
who  attained  literary  and  musical 
distinction;  he  began  the  study  of 
music  at  six  years  of  age  and  made  a 
number  of  appearances  in  various 
parts  of  the  U.  S.  as  a  boy  pianist; 
graduated  from  the  New  England 
Conservatory  1888,  and  later  studied 
in  St.  Petersburg;  since  his  return 
to  the  U.  S.  has  given  piano  recitals 
and  lecture  recitals  on  Russian  music 
before  the  leading  conservatories, 
colleges  and  musical  clubs  in  various 
parts  of  the  country;  his  composi- 
tions include  about  100  numbers  in 
different  forms,  although  the  major- 
ity of  his  published  works  are  for 
the  piano;  he  has  also  edited  many 
pieces  for  American  publishers,  and 
contributed  to  the  leading  musical 
magazines;  teacher  in  Boston  for  a 
number  of  years;  New  York  1909. 


SALOME 


SANDBERGER 


Salome  (sa-lo-ma),  Theodore  Cesar, 
orgt.  b.  Paris,  Jan.  20,  1834;  d.  St. 
Germain,  July,  1896.  Studied  at 
Paris  Cons,  with  A.  Thomas  and 
Bazin;  2d  Prix  de  Rome  1861; 
re'pe'titeur  of  solfeggio  at  Cons. 
1872-73;  2d  orgt.  at  La  Trinite"; 
maltre  de  chapelle  at  Lyce"e  St.  Louis, 
professor  at  Coll.  Rollin;  comp. 
symphony  and  org.  mus. 

Salomon,  Johann  Peter,  vlt.  b.  Bonn, 
Jan.,  1745;  d.  London,  Nov.  25, 1815. 
Member  of  Elector's  orch.  at  Bonn; 
concertmaster  to  Prince  Henry  of 
Prussia;  in  London  after  1781  dis- 
tinguished as  quartet  player  and 
orchestral  leader;  founded  London 
Philharmonic  Soc.  1813;  gave  series 
of  concerts  1786;  persuaded  Haydn 
to  visit  London  1791  and  1794;  H. 
wrote  several  symphonies  and  last 
quartets  for  S.,  and  began  The 
Creation  at  his  suggestion;  S.  com- 
posed opera  Windsor  Castle  1795. 

Salter,  Mary  Turner,  compr.  b.  Peoria, 
III.,  March  15,  1856.  Parents  musi- 
cal but  not  professionals;  began 
career  as  singer  when  a  child ;  studied 
singing  with  Alfred  Arthur,  of  Cleve- 
land, O.,  and  Dr.  Schilling,  of  Burling- 
ton, Iowa;  in  1876  went  to  Boston, 
studied  at  N.  E.  Cons.,  with  O'Neill 
and  Mme.  Rudersdorff ;  sang  in  Port- 
land, Me.,  with  Annie  Louise  Gary 
and  in  Ole  Bull's  concerts  in  Boston; 
held  church  positions  in  Boston,  New 
Haven  and  New  York;  taught  sing- 
ing at  Wellesley  College;  married 
Sumner  Salter;  lives  at  Williams- 
town,  Mass.;  has  composed  about 
one  hundred  songs,  some  of  them 
very  successful. 

Salter,  Sumner,  orgt.,  compr.  b.  Bur- 
lington, Iowa,  June  24,  1856.  Grad- 
uated at  Amherst  Coll.;  studied 
music  in  Boston;  editor  of  Pianist 
and  Organist,  N.  Y.  1895-97;  director 
of  music  at  Syracuse,  N.  Y.,  1881- 
1886;  Atlanta,  Ga.,  1886-1889;  Cor- 
nell Univ.  1900-1905;  Williams 
Coll.  1905;  composed  church  music, 
songs,  etc. 

Samara  (sa-ma'-ra),  Spiro,  compr.  b. 
Corfu,  Nov.  29,  1861.  Studied  at 
Athens  with  Stancampiano  and  at 
Paris  with  Delibes;  composed  several 
operas  which  have  been  successful  in 
Paris  and  Italy,  notably  Flora 


mirabilis  1886;  realistic  La  martire 
1894  and  Mile,  de  Belle  Isle  1905 
fairly  successful. 

Samaroff,  Olga  [nee  Hickenlooper],  pst. 
b.  at  the  military  post  of  San  Antonio, 
Tex.,  Aug.  8,  1881;  her  grandmother, 
Mrs.  L.  P.  Griinewald,  in  her  younger 
days  a  concert  pianist  of  Munich, 
and  later  in  New  Orleans,  was  her 
first  teacher;  later  she  studied  in 
Paris  with  the  elder  Marmontel  and 
Widor;  in  1895  she  entered  the  class 
of  Delaborde  in  the  Conservatoire, 
the  first  American  woman  to  be  ad- 
mitted to  the  piano  classes;  from 
Paris  she  went  to  Berlin  and  studied 
under  Jedliczka;  her  general  educa- 
tion was  received  from  private 
teachers  and  in  the  Couvent  du  St. 
Sacrement,  Paris;  professional  career 
began  in  New  York,  Jan.  18,  1905, 
with  the  N.  Y.  Symphony  Orchestra; 
she  has  had  three  American,  three 
London,  and  one  Continental  season, 
about  300  concerts  and  recitals  up  to 
season  of  1909-1910,  appearing  with 
the  leading  orchestras;  makes  her 
home  mostly  in  Paris. 

Sammartini  (sam-mar-te'-ne),  Gio- 
vanni Battista,  orgt.  b.  Milan,  1704; 
d.  1774.  Orgt.  in  2  Milan  churches; 
maestro  di  cappella  at  convent  1730- 
70;  teacher  of  Gluck;  sometimes 
called  (Riemann  says  "  most  un- 
justly ")  forerunner  of  Haydn  in 
composition  of  symphonies  (S.  wrote 
24)  and  chamber  mus. 

Samuel,  Adolphe  Abraham,  compr.  b. 
Lie"ge,  July  11,  1824;  d.  Ghent,  Sept. 
11,  1898.  Studied  at  Cons,  at  Lie"ge 
and  Brussels,  where  he  won  Grand 
prix  de  Rome  1845  and  where  he 
taught  harmony  after  1860;  founded 
Brussels  pop.  concerts  1865  and 
annual  festivals  1869;  director  Ghent 
Cons.  1871;  composed  5  operas,  5 
symphonies,  symphonic  fragment 
Roland  d  Roncevaux,  a  "  mystic  " 
symph.  with  chorus  Christus,  over- 
tures, etc.;  wrote  Cours  d'harmonie. 

Sandberger,  Adolf,  compr.,  editor,  b. 
Wurzburg,  Dec.  19,  1864.  Studied 
at  Royal  Schools  at  Wurzburg  and 
Munich,  at  Univ.  of  W.  and  Berlin; 
Ph.D.  1887;  custodian  mus.  dept. 
Munich  Library,  lecturer  at  Univ.; 
prof,  of  mus.  Prague  Univ.  1898, 
Munich  1900;  edited  works  of  Lassus, 


SANDERSON 


SAURET 


is  general  editor  of  Denkmdler  der 
Tonkunst  in  Bayern  and  ed.  of 
some  vols.,  compr.  of  overtures, 
symph.  poems,  etc.,  author  of  life 
of  Cornelius,  essays  on  Chabrier's 
Gwendoline,  Lassus,  Haydn's  quar- 
tets, etc. 

Sanderson,  Sibyl,  dram,  soprano,  b. 
Sacramento,  Cal.,  Dec.  7,  1865;  d. 
Paris,  May  16,  1903.  Early  ability; 
pupil  at  Paris  Cons,  of  Massenet, 
and  also  of  Sbriglia  and  Marchesi; 
d£but  The  Hague  1888;  at  Op^ra 
Com.  1889;  Massenet  wrote  Esdar- 
monde  and  Thais  for  her,  Saint-Saens 
Phryne;  in  New  York  1894  and  1898 
with  Grau  Co.;  retired  1897  after 
marriage  to  A.  -Terry,  who  died 
shortly  after,  but  returned  to  stage 
1901;  of  rare  beauty,  an  exquisite 
though  light  voice,  she  charmed 
rather  by  her  own  personality  than 
through  art. 

Sandoni,  Mme.,  see  Cuzzoni. 

Santley,  Sir  Charles,  baritone.  b. 
Liverpool,  Feb.  28,  1834.  Pupil  of 
Nava  in  Milan,  of  Garcia  in  London: 
de"but  at  Pavia  1856,  London  1857, 
stage  d6but  1859;  member  of  Carl 
Rosa  Co.  1875;  visited  America  1871 
and  1891,  Australia  1899;  especially 
distinguished  in  Elijah,  Faust,  Fly- 
ing Dutchman  (which  he  first  sang 
in  English);  composed  some  church 
music,  published  reminiscences  Stu- 
dent and  Singer  1892,  The  Art  of  Sing- 
ing and  Vocal  Declamation,  1908; 
knighted  1907. 

Sapellnikoff  (sa-pel'-nl-kof),  Wassili, 
pst.  b.  Odessa,  Nov.  2,  1868.  Pupil 
of  Kessler  and  of  Brassin  and  Sophie 
Menter  at  St.  Petersburg  Cons., 
whither  he  was  sent  by  town  on  A. 
Rubinstein's  advice;  de"but  1888 
Hamburg;  widely  successful  tours. 

Saran,  August  Friedrich,  condr.  b. 
Altenplathow,  Saxony,  Feb.  28,  1836. 
Studied  with  Ehrlich  and  Robt. 
Franz;  studied  theology  at  Halle, 
teacher,  army  chaplain,  supt.  at 
Zehdenick,  Brandenburg;  condr.  of 
choral  soc.  at  Bromberg;  arranged 
old  German  songs;  wrote  pamphlet 
on  Franz. 

Sarasate  (sa-ra-sa'-te),  Pablo  de  [in 
full  P.  Martin  Meliton  S.  y  Navas- 
cuez],  vlt.  b.  Pamplona,  Spain,  Mar. 


10,  1844;  d.  Biarritz,  Sept.  20,  1908. 
Precocious  appearance  in  Spain; 
pupil  of  Alard  at  Paris  Cons,  where 
he  won  1st  prize  1857;  career  of  long 
successful  tours,  to  the  East  and  to 
America  several  times,  2d  1889  with 
d'Albert;  Lalo,  Bruch,  and  Saint- 
Saens  all  wrote  works  for  him;  note- 
worthy for  purity  of  tone,  flexi- 
bility of  style,  accuracy  and  firmness 
of  technic;  his  own  compositions 
Zigeunerweisen,  Jota  aragonesa  and 
4  books  of  transcriptions  for  vln.  of 
Spanish  dances;  not  so  remarkable 
for  technical  dexterity  as  for  irre- 
sistible swing  with  which  he  played, 
especially  own  compositions. 

Sarti,  Giuseppe  [called  "il  Domeni- 
chino"],  compr.  b.  Faenza,  Dec.  28, 
1729;  d.  Berlin,  July  28,  1802.  Pupil 
of  Padre  Martini;  orgt.  at  Faenza; 
opera  II  re  pastore  (Venice  1753)  led 
to  call  to  Copenhagen  as  opera- 
director  and  royal  condr.;  dismissed 
1775  for  political  reasons;  director 
of  Cons,  at  Venice;  maestro  at 
Milan  Cath.  1779;  teacher  of  Cheru- 
bim, compr.  of  successful  operas;  last 
18  years  of  life  in  St.  Petersburg 
with  exception  of  few  years  before 
1793  when  he  founded  mus.  sch.  in 
the  Ukraine,  where  he  developed 
Italian  opera,  composed  Te  Deum 
and  other  works  for  court  choir; 
prolific  compr.  but  of  the  little  that 
was  published  the  most  is  now 
obsolete. 

Sauer  (sou'-er),  Emil,  pst.  b.  Ham- 
burg, Oct.  8,  1862.  Pupil  of  his 
mother,  of  N.  Rubinstein  at  Moscow, 
and  of  Liszt  at  Weimar  1884-85; 
successful  virtuoso  since  1882;  direc- 
tor of  Klavier-Meisterschule  at 
Vienna  Cons.  1901-07;  living  in 
Dresden;  composed  2  pf.  concertos, 
Suite  moderne  for  pf.,  smaller  pf. 
works  and  songs;  also  wrote  Meine 
Welt:  Bilder  aus  dem  Geheimfache 
meiner  Kunst  und  meines  Lebens 
1901;  played  in  America  1899  and 
1909;  of  wonderfully  fluent  technic 
himself,  he  is  also  admirable  teacher; 
works  are  skilfully  composed,  but 
are  not  profound  in  idea. 

Sauret  (so-ra),  Emile,  vlt.  b.  Dun-le- 
Roi,  Cher,  France,  May  22,  1852. 
Pupil  at  Paris  Cons,  and  of  De  BeYiot 
at  Brussels  Cons.;  appeared  1866, 


SAWYER 


SCARLATTI 


first  in  England,  then  in  France, 
Italy,  America  1872,  1874-76  (later, 
1877,  1895);  teacher  Kullak's  Acad. 
Berlin  1880-81,  at  Royal  Acad. 
Mus.  London  1891-1903,  at  Chicago 
Mus.  Coll.  1903-06;  now  teaching 
privately  in  Geneva;  married  Teresa 
Carreno  1872,  later  divorced;  com- 
posed considerable  music  for  vln. 
and  has  written  valuable  method; 
playing  graceful  and  elegant,  of 
French  school. 

Sawyer,  Frank  Joseph,  orgt.,  writer, 
b.  Brighton,  Eng.,  June  19,  1857; 
d.  Brighton,  May,  1908.  Pupil  at 
Leipzig  Cons,  of  Richter  and  others; 
pupil  and  asst.  of  J.  F.  Bridge;  Mus. 
Doc.  Oxford  1884;  orgt.  at  Brighton 
and  condr.  until  1896  of  choral  and 
orch.  soc.;  prof,  sight  singing  Royal 
Coll.  Mus.;  gave  recitals,  lectures 
on  hist,  of  org.,  dance,  etc.;  composed 
oratorio,  cantatas,  Concertstiick, 
Romance,  etc.,  technical  pf.  exer- 
cises; author  of  Primer  on  Extempori- 
sation. 

Sax,  Antoine  Joseph  [called  Adolphe], 
instrument  maker,  b.  Dinant,  Nov. 
6,  1814;  d.  Paris,  Feb.  4,  1894.  Pupil 
of  Bender  at  Brussels  Cons,  on  flute 
and  clarinet ;  invented  improvements 
in  clarinet;  1842  invented  saxophone, 
metal  wind  instr.  with  single-reed 
mouthpiece  and  conical  bore;  instrs. 
encouraged  by  Berlioz  and  other 
musicians;  added  saxhorn  and  sax 
tromba;  teacher  of  saxophone  Paris 
Cons.  1857. 

Sbriglia  (sbril'-yia),  Giovanni,  singing 
teacher,  b.  Naples,  1840.  Pupil  of 
De  Roxas  at  Naples  Cons.;  d6but  as 
operatic  tenor  1861;  sang  in  Italy,  in 
New  York  with  Patti,  in  Havana, 
etc.;  distinguished  teacher  of  sing- 
ing in  Paris;  reformed  voice  of  Jean 
de  Reszke"  from  baritone  to  tenor, 
taught  Plangon,  Nordica,  Sanderson, 
etc. 

Scalchi  (skal'-kl),  Sofia,  dram,  mezzo 
sop.  b.  Turin,  Nov.  29,  1850.  Par- 
ents both  singers;  pupil  of  Bocca- 
badati;  d6but  Mantua  1866;  sang  at 
various  Italian  cities,  in  England 
1868-90;  first  appeared  in  America 
1882;  married  Lolli  1875;  voice  of 
fine  quality  and  such  range  that  she 
could  take  mezzo  sop.  and  contralto 
parts. 


Scaria  (ska'-ria),  Emil,  dram.  bass.  b. 
Graz,  Sept.  18,  1840;  d.  Blasewitz, 
near  Dresden,  July  22,  1886.  Pupil 
of  Netzer,  Gentiluomo,  and  Lewy; 
dSbut  Pesth  1860;  after  few  months' 
study  with  Garcia  in  London  1862, 
was  engaged  at  Dessau,  Leipzig, 
Dresden,  and  Vienna  Opera  after 
1872;  first  Wotan  in  Wagner's  Ring 
Bayreuth  1876,  and  Gurnemanz  in 
Parsifal  1882. 

Scarlatti,  Alessandro,  compr.  b.  Tra- 
pani,  Sicily,  1659;  d.  Naples,  Oct.  24, 
1725.  Nothing  known  of  early  life 
and  training;  conducted  first  known 
opera  Rome  1680;  maestro  to  Queen 
Christina  of  Sweden,  to  Viceroy  at 
Naples  1694;  asst.  to  Foggia,  maestro 
at  Sta.  Maria  Maggiore,  Rome,  1703, 
and  successor  1707-09;  maestro  at 
royal  chapel,  Naples;  teacher  at  3 
conservatories  there;  among  pupils 
Durante,  Leo,  Hasse,  Porpora,  etc.; 
dir.  Sta.  Maria  Maggiore,  dir.  to 
Cardinal  Ottoboni  in  Rome;  in 
Naples  again  after  1709;  composed 
over  100  operas  and  200  masses; 
founder  of  Neapolitan  school  of 
opera;  broke  up  the  monotony  of 
continued  recitative  by  using  recita- 
tive both  with  and  without  full 
accomp.  and  by  introducing  formal 
aria;  established  popular  type  of 
overture  in  three  movements,  the 
2d  slow;  within  these  forms  his 
own  work  is  entirely  lacking  in 
diversity;  it  has  "  grace,  suavity, 
dexterous  neatness  of  articulation." 
His  son  Domenico  Scarlatti,  compr., 
harpsichord  player,  b.  Naples,  Oct. 
26,  1685;  d.  there,  1757.  Pupil  of 
father  and  Gasparini;  arranged  and 
composed  operas;  chosen  to  compete 
with  Handel  1709,  he  equaled  H.  on 
harpsichord,  but  not  at  org. ;  maestro 
at  St.  Peter's,  Rome,  1715-19;  maes- 
tro al  cembalo  Italian  Opera,  London, 
1719-20;  court  cembalist  at  Lisbon 
1721-54  (except  1725-29);  returned 
to  Naples,  where  gambling  reduced 
his  family  to  poverty,  which  Fari- 
nelli  relieved;  in  his  harpsichord 
music  used  new  effects,  gained  by 
crossing  hands,  by  broken  chords, 
by  displaced  accents,  etc.,  which 
contributed  largely  to  beginning  of 
technic;  style  of  his  works  also  is 
modern  in  its  freedom  from  formal 
construction. 


SCHARWENKA 

Scharwenka  (shar-ven'-ka),  Ludwig 
Philipp,  compr.  b.  Samter,  Posen, 
Feb.  16,  1847.  Pupil  of  Wiierst  at 
Kullak's  Acad.,  Berlin,  and  of  H. 
Dorn;  teacher  of  theory  and  comp.  at 
Kullak's  1870;  with  brother  Xaver 
founded  Scharwenka  Cons.  1881; 
went  with  X.  to  New  York  1891,  but 
continued  own  cons,  with  Gold- 
schmidt  1892  until  it  was  joined 
with  Klindworth  Cons.  1893;  com- 
posed many  pf.  pieces  (Landler, 
Album  polonais,  choral  works,  2 
symph.,  suite,  symph.  poem,  etc. 
His  brother  Franz  Xaver  Schar- 
wenka, pst.,  compr.  b.  Samter,  Jan. 
6,  1850.  Pupil  of  Kullak  and  Wiierst 
at  K's  Acad.,  where  he  taught  1868- 
74;  after  successful  de"but  1869,  gave 
annual  concerts  of  chamber  and 
orchestral  music;  founded  Scharw. 
Cons,  with  Philipp  1881;  director 
till  1891,  then  established  S.  Cons, 
in  New  York;  1898  director  of 
Scharwenka-Klindworth  Cons.,  and 
teacher  of  pf.;  as  pst.  remarkable 
for  combination  of  great  power  with 
repose  and  rich,  singing  tone;  as 
compr.  he  shows  power,  strong 
sense  of  rhythm,  and  Polish  national 
color,  in  symph.,  4  pf.  concertos  (of 
which  1st  is  widely  praised),  chamber 
music,  Polish  dances,  etc.  for  pf., 
and  one  opera,  Mataswintha  (Weimar 
1896,  N.Y.  1897).  Visited  U.S.  1910. 

Scheel  (shal),  Fritz,  condr.  b.  Liibeck, 
Germany,  Nov.  7,  1852;  d.  Philadel- 
phia, March  12,  1907.  Condr.  of 
juvenile  orch.  at  10,  vln.  pupil  of 
David  at  Leipzig;  concertmaster 
Bremerhaven  City  Orch.;  director 
Chemnitz;  at  Hamburg  1890  alter- 
nated with  Von  Bulow  at  subscrip- 
tion concerts;  1893  conducted  at 
World's  Fair;  then  in  San  Francisco; 
first  condr.  of  Philadelphia  Orch. 
1900  until  death,  building  up  and 
establishing  orch. ;  condr.  of  Orpheus 
Club  and  Eurydice  Chorus. 

Scheidemann  (shl'-de-man),  Heinrich, 
orgt.  b.  Hamburg,  about  1596;  d. 
there,  1654.  Pupil  of  father,  Hans, 
and  his  successor;  also  pupil  of 
Sweelinck  at  Amsterdam;  associated 
with  Praetorius  in  contributing  to 
Himmlische  Lieder,  one  of  which, 
Frisch  auf  und  lasst  uns  singen,  was 
popular;  teacher  of  Weckmann  and 
Reinken;  other  works  not  extant. 


SCHILLINGS 

Scheldt  (shidt),  Samuel,  orgt.  b.  Halle- 
on-Saale,  1587;  d.  there,  Mar.  14, 
1654.  Pupil  of  Sweelinck  at  Am- 
sterdam; orgt.  and  capellmeister  at 
Halle;  composed  mostly  for  voice, 
but  wrote  also  chorale  preludes  (one 
of  first  to  develop  chorales  in  elabo- 
rate style) ;  famous  work  Tabulatura 
nova,  1624,  org.  fantasies,  and  church 
pieces;  in  technic,  extended  use  of 
pedal. 

Schein  (shin),  Johann  Hermann, 
compr.  b.  Griinhain,  Saxony,  Jan. 
29,  1586;  d.  Leipzig,  Nov.  19,  1630. 
Soprano  at  Electoral  Chapel  at 
Dresden;  studied  at  Schulpforte 
and  at  Leipzig  Univ.;  capellmeistei' 
Weimar  1615;  cantor  Thomasschule 
Leipzig  1616;  composed  Cantional, 
choral  melodies  for  Lutheran  ch., 
Vemis  Krantzlein,  songs  in  5  parts, 
concerted  instr.  pieces;  style  notably 
smooth  and  masterly. 

Schelling  (shel-ling),  Ernest  Henry, 
pst.  b.  Belvidere,  N.  J.,  July  26, 
1876.  Precocious  appearance  in 
Philadelphia  1880;  pupil  of  Mathias, 
Moszkowski,  Pruckner,  Leschetizky, 
Paderewski,  etc.;  has  played  since 
1901  in  Europe,  N.  and  S.  America; 
court  pst.  to  Duke  of  Mecklenburg- 
Schwerin;  compr.  symph.,  symph. 
legends,  chamber  music,  pf.  concerto 
and  small  pieces. 

Schikaneder  (shi-kan-a'-der),  Emanuel 
Johann,  librettist,  b.  Regensburg, 
April  9,  1751;  d.  Vienna,  Sept.  21, 
1812.  Tragedian,  singer  in  traveling 
troupe;  met  Mozart  in  Salzburg; 
when  manager  in  Vienna,  wrote 
Zauberflote,  for  which  M.  composed 
music;  success  of  opera  lifted  him 
only  temporarily  from  poverty;  also 
wrote  texts  for  Winter,  Haibel,  etc. 

Schilling,  Bertha,  see  Breval,  Lucienne. 

Schillings  (shil-lings) ,  Max,  compr.  b. 
Diiren,  Rheinland,  Apr.  19,  1868. 
Studied  with  Brambach  and  Von 
Konigslow  at  Bonn  and  at  Munich; 
trainer  of  chorus  at  Bayreuth;  chief 
condr.  of  Stuttgart  Court  Opera  and 
concerts  of  court  orchestra  1907; 
composed  operas,  Ingwelde  1894, 
Der  Pfeifertag  1896,  Moloch  1906; 
fantasia  for  orch.,  orchestral  accomp. 
for  declamation  of  Hexenlied,  etc.; 
accused  of  imitating  Wagner,  he  is 
strongly  defended  by  admirers,  who 


SCHINDLER 

claim  for  him  individuality  of  style, 
pure  "  aristocratic  "  melody,  har- 
monic skill  and  care  above  other 
moderns,  extreme  regard  for  modu- 
lation, and  deep  personal  feeling. 

Schindler  (shint-ler),  Anton,  writer. 
b.  Medl,  Moravia,  1796;  d.  Bocken- 
heim,  Jan.  16,  1864.  Vlt.,  capell- 
meister  at  German  Opera,  Vienna, 
and  later  at  Minister  and  Aix-la- 
Chapelle;  about  1817-27  intimate 
friend  and  helper,  living  in  same 
house  with  Beethoven,  whose  biog- 
raphy he  wrote  1840. 

Schira  (she'-ra),  Francesco,  condr., 
teacher,  b.  Malta,  Sept.  19,  1815; 
d.  London,  Oct.  15,  1883.  Studied 
at  Milan  Cons.;  produced  1st  opera 
there;  conducted  at  Lisbon  and 
taught  in  Cons.;  after  1842  in  Lon- 
don as  condr.  of  Princess's  Th.;  at 
Drury  Lane  1847  and  1852,  and  at 
Covent  Garden  1848-52;  after  that 
gained  renown  as  teacher  of  singing; 
composed  some  10  operas  and  other 
vocal  music. 

Schlesinger  (shla'-sing-er),  Sebastian 
Benson,  compr.  b.  Hamburg,  Sept. 

24,  1837.     Came  to  Boston  at  13, 
where  he  studied  with  Dresel;    Ger- 
man consul  at  Boston;    later  living 
in  Paris;    compr.  of  over  100  songs 
and  pf.  pieces. 

Schmitt  (shmit),  Aloys,  pst.,  teacher, 
b.  Erlenbach,  Bavaria,  Aug.  26, 
1788;  d.  Frankfort-on-Main,  July 

25,  1866.      Father    a    cantor,   who 
taught    him;     studied    comp.    with 
Andre';  lived  in  Frankfort  after  1816, 
except  for  short  time  in  Berlin  and 
Hanover;    wrote  valuable  method, 
delicate    eludes,    etc.,    as    well    as 
chamber  and  orch.  music. 

Schmitt,  Hans,  pf.  teacher,  b.  Koben, 
Bohemia,  Jan.  14,  1835;  d.  Vienna, 
Jan.  15,  1907.  At  first  oboe  player; 
pf .  pupil  of  Dachs  when  25  at  Vienna 
€ons.,  where  he  won  medal,  and  later 
taught,  having  classes  in  pf.  expres- 
sion 1875-1900;  composed  many  re- 
markable works  for  pf.  instruction, 
notably  300  studies  without  octaves, 
pedal  studies,  etc.;  wrote  a  valuable 
work  on  The  Pedals  of  the  Piano. 

Schnecker  (shnek'-er),  Peter  August, 
orgt.,  compr.  b.  Hesse-Darmstadt, 
Aug.  26,  1850;  d.  N.  Y.,  Oct.  3,  1903. 
Came  to  America  1865;  pupil  of 


SCHOENEFELD 

S.  P.  Warren,  N.  Y.,  and  at  Leipzig 
Cons.  1874  of  O.  Paul  and  Richter; 
orgt.  in  N.  Y.  after  1872;  written  more 
church  music  than  almost  any  other 
American  (org.  mus.  and  cantatas  for 
church),  songs,  and  vln.  works,  etc., 
beside  numerous  transcriptions. 

Schneider  (shnl'-der),  Johann  Chris- 
tian Friedrich,  compr.  b.  Alt-Walt- 
ersdorf,  Saxony,  Jan.  3,  1786;  d. 
Dessau,  Nov.  23,  1853.  Son  and 
pupil  of  orgt.  Johann  Gottlob  S. 
(1753-1840);  student  at  Leipzig 
Univ.;  also  pupil  of  Unger;  orgt. 
Leipzig  1807,  of  Thomaskirche  1812; 
opera  condr.  1816,  director  Stadt  Th. 
1817;  in  Dessau  court  capellmeister 
1821,  organizer  of  Liedertafel,  found- 
er of  School  of  Mus.  1829  (closed 
1854);  R.  Franz  among  pupils; 
conducted  at  many  festivals;  com- 
posed oratorios  popular  at  time,  Das 
WeUgericht,  Die  Siindflut,  etc.,  23 
symph.,  overtures,  etc.;  pf.  works 
collected. 

Schnorr  von  Carolsfeld  (shnor-von-ka'- 
rols-felt),  Ludwig,  dram,  tenor,  b. 
Munich,  July  2,  1836;  d.  Dresden, 
June  21,  1865.  Son  of  painter; 
studied  at  Leipzig  Cons.,  and  with 
J.  Otto  and  Devnent;  d£but  Carls- 
ruhe  1858;  tenor  at  Dresden  after 
1860;  created  part  of  Tristan, 
Munich,  1865,  his  wife  Malvina 
(1825-1904)  singing  Isolde. 

Schnyder  von  Wartensee  (shni'-der  von 
var'-ten-sa),  Xaver,  teacher,  compr. 
b.  Lucerne,  Apr.  16,  1786;  d.  Frank- 
fort-on-Main, Aug.  27,  1868.  Stud- 
ied with  Kienlen  in  Vienna;  after 
fighting  in  1815,  taught  at  Yverdun, 
and  after  1817  at  Frankfort;  wrote 
charming  vocal  music,  opera  For- 
tunat,  cantatas,  part-songs,  etc.,  2 
symphonies,  and  published  System 
der  Rhythmik. 

Schoenefeld  (sh6-ne-felt),  Henry,  pst. 
b.  Milwaukee,  Oct.  4, 1857.  Studied 
at  Leipzig  with  Papperitz,  Richter, 
Schradieck,  etc.,  and  at  Weimar  with 
Lassen ;  after  tour  in  Germany  settled 
in  Chicago;  from  1879  in  Chicago  as 
pst.,  teacher,  condr.  of  Germania 
Mannerchor;  1904  removed  to  Los 
Angeles;  composed  Three  Indians,  ode 
with  orch.,  2  symph.  (Rural,  etc.),  2 
overtures  (In  the  Sunny  South  contain* 
negro  melodies),  vln.  sonata,  etc. 


SCHOLTZ 

Scholtz  (sholts),  Hermann,  pst.,  compr. 
b.  Breslau,  June  9,  1845.  Pupil  of 
Brosig,  Riedel,  Plaidy,  and  at 
Munich  of  Von  Billow  and  Rhein- 
berger;  taught  at  Royal  Sch.  Mu- 
nich, 1870-75;  since  1875  in  Dresden ; 
composed  pf.  concerto,  trio,  pas- 
sacaglia,  ballade,  etc:  for  pf.;  edited 
Peters's  Ed.  of  Chopin's  and  Heller's 
Etudes. 

Scholz  (sholts),  Bernhard  E.,  compr. 
b.  Mayence,  Mar.  30,  1835.  Studied 
with  E.  Pauer  at  Mayence  and 
Dehn  at  Berlin;  teacher  at  Royal 
School,  Munich,  1856-59;  court 
capellmeister  Hanover  1859-65;  after 
seasons  in  Florence  and  Berlin, 
condr.  of  Breslau  Orch.  Soc.  1871-83, 
succeeded  Raff  1883-1908  as  director 
of  Hoch  Cons.,  Frankfort,  where  he 
made  his  way  in  face  of  intriguing 
opposition ;  composed  songs,  chamber 
music,  symph.  (Malinconia),  choral 
works,  requiem,  etc. 

Schradieck  (shra'-dek),  Henry,  vlt. 
b.  Hamburg,  Apr.  29,  1846.^  Pupil 
of  father,  of  Leonard  at  Brussels 
Cons.,  of  David  at  Leipzig;  leader 
of  orch.  at  Bremen;  teacher  Moscow 
Cons.  1864-68;  leader  of  Philhar- 
monic concerts,  Hamburg,  of  Gewand- 
haus  Orch.,  Leipzig,  1874-82,  teach- 
ing at  Cons.;  prof.  Cincinnati  Cons. 
1883-89,  and,  after  season  in  Ham- 
burg, prof,  at  Nat'l  Cons.,  New  York, 
at  Broad  St.  Cons.,  Phila.,  and  1910 
Institute  of  Applied  Music,  New  York; 
compr.  of  valuable  technical  exercises. 

Schroeder  (shre"d-er),  Alwin,  'cellist. 
b.  Neuhaldensleben,  near  Magde- 
burg, June  15,  1855.  Pf.  pupu  of 
father  and  brother  Hermann  (b. 
1843),  vln.  pupil  of  De  Ahna  at  Berlin 
Hochschule,  self-taught  as  'cellist; 
1st  'cellist  in  orchestras  in  Leipzig, 
and  Hamburg;  1881  succeeded  broth- 
er Carl  (b.  1848)  at  Gewandhaus,  in 
th.  orch.,  and  at  Cons.;  member 
of  Petri  Quartet;  member  Boston 
Symph.  Orch.  1886-1903  and  1910,  of 
Kneisel  Quartet  1891-1908,  of  Hess- 
Schroeder  Quartet  1908-10. 

Schroeder-Devrient  (shre'-dar-de'-vri- 
ant),  Wilhelmine,  dram.  sop.  b. 
Hamburg,  Dec.  6,  1804;  d.  Coburg, 
Jan.  26,  1860.  Father  baritone, 
mother  actress  Sophie  Schroder,  she 
acted  herself  until  17;  pupil  of 


SCHUBERT 

Mozatti  at  Vienna;  de"but  there 
1821;  great  success,  especially  in 
revival  of  Fiddio,  1822;  married 
actor  C.  Devrient  1823,  divorced 
1828;  at  Court  Opera,  Dresden, 
1823-1847,  except  for  visiting  sea- 
sons in  other  capitals;  her  voice  was 
not  remarkable  or  very  well  man- 
aged, but  her  abilities  as  actress 
were  great. 

Schroeter  (shre"-ter),  Christoph  Gott- 
lieb, orgt.,  theorist,  b.  Hohenstein, 
Saxony,  Aug.  19,  1699;  d.  Nord- 
hausen,  Nov.,  1782.  Pupil  at  Kreuz- 
schule,  Dresden,  student  of  theology 
at  Leipzig;  copyist  for  Lotti  1717; 
after  travel  in  Germany  and  Eng- 
land, lectured  at  Jena  Univ.;  orgt. 
at  Minden,  after  1732  at  Nord- 
hausen;  composed  seven  sets  of 
cantatas  for  church  year,  other 
church  music;  wrote  on  general  bass 
("  first  to  represent  major  and 
minor  triads  as  sole  fundamental 
chords  ")  and  description  of  hammer 
action  for  keyed  instruments,  on 
which  invention  of  pf.  is  based; 
claims  this  invention  in  work  pub- 
lished 1763,  ten  years  after  death  of 
Silbermann,  who  is  usually  supposed 
to  have  established  invention  of 
Cristofori. 

Schubert  (shu-bart),  Franz  Peter, 
compr.  b.  Lichtenthal,  near  Vienna, 
Jan.  31,  1797;  d.  Vienna,  Nov.  19, 
1828.  Son  of  schoolmaster,  one  of 
19  children  (brother  Ignaz  gave  him 
lessons  and  Ferdinand  took  care  of 
him);  sweetness  of  soprano  voice 
secured  him  attention  at  Convict 
School  and  Court  Chapel,  where  he 
was  taught  harmony  by  Rucziszka; 
taught  in  lowest  class  of  father's 
school  1813-16;  released  1817  from 
this  by  friend  F.  von  Schober,  with 
whom  he  lived  thereafter  (except 
1819-21);  taught  music  to  daugh- 
ters of  Count  Esterhazy  1818;  ac- 
quainted with  Beethoven  during  his 
last  illness  1827;  concert  of  his  own 
works  early  in  1828;  repeated  efforts 
to  gain  some  lucrative  position 
always  failed;  though  appreciated 
by  contemporary  musicians  and  to 
some  extent  by  the  public,  he  was 
underpaid  by  his  publishers  and 
always  struggling  against  poverty. 
Began  to  compose  very  early,  and 
fertility  of  production  increased  as 


SCHUCH 


SCHUMANN 


life  lasted;  during  last  year  wrote 
10th  symph.,  mass  in  E  flat,  Miri- 
am's Song,  quintet,  quartet,  3 
sonatas,  and  songs  later  published 
as  Swan  Songs;  Sir  Geo.  Grove, 
whose  article  on  S.  in  his  Dictionary 
is  the  standard  in  English,  describes 
him  as  a  "  bom  bourgeois,  never 
really  at  his  ease  except  among  his 
equals  and  chosen  associates;  with 
them  he  was  genial  ....  even 
boisterous  .  .  .  Simplicity  curi- 
ously characterizes  his  whole  life." 
He  composed  17  operas,  of  which 
7  were  performed  and  of  which  Die 
Zwillingsbriider,  Alfonso  und  Estrella, 
Fierabras,  are  at  least  familiar 
names;  the  incidental  music  to 
Rosamunde  is  well  known  from 
orchestral  suite;  6  masses,  several 
psalms,  hymns,  occasional  cantatas, 
Miriams  Siegesgesang,  etc.;  chamber 
music  (octet,  quintets,  trios),  pf. 
mus.  (sonatas,  waltzes,  impromptus, 
etc.);  7  overtures,  vln.  concerto;  10 
symphonies,  of  which  one  is  known 
as  the  Unfinished;  several  hundred 
songs.  Most  admired  for  sym- 
phonies and  songs.  The  symphonies 
are  praised  for  their  romantic  emo- 
tional expression;  Schubert's  great 
innovation  was  "  the  introduction 
of  the  song  into  the  symph.",  most 
notably  in  the  Unfinished  symph. 
in  B  min.;  the  fluency  and  fertility 
of  his  invention  command  admira- 
tion but  his  work  is  condemned  for 
diffuseness,  lack  of  firmness  and 
originality  in  harmonic  structure. 
For  the  best  of  the  songs  there  is 
little  but  praise;  he  wrote  three 
kinds  of  songs:  the  simpler  Lied, 
like  those  of  his  predecessors;  a 
more  dramatic  and  original  variety 
in  which  the  changing  emotions  of 
the  poems  are  followed  throughout; 
and  declamatory  ones.  Among  so 
many,  inevitably  some  songs  are  of 
inferior  quality;  sometimes  this  was 
due  to  lack  of  care,  sometimes  to 
poor  words.  At  his  best,  in  such 
songs  as  Who  is  Sylvia?  The  Erl 
King,  etc.,  S.  shows  perfect  dramatic 
appropriateness  combined  with  sheer 
loveliness  of  melody,  unequaled  by 
any  other  composer. 

Schuch  (shook),  Ernst,  condr.  b.  Graz, 
Nov.  23,  1847.  Vln.  pupil  of  Stoltz 
and  Dessoff;  mus.  dir.  at  Breslau, 


Wiirzburg,  Graz,  Basle,  etc.;  at 
Dresden  court  condr.,  court  council- 
lor, general  dir. ;  married  Clementine 
Proska  (b.  1853),  singer  at  Dresden 
since  1873. 

Schulhoff  (shool'-hof),  Julius,  pst., 
compr.  b.  Prague,  Aug.  2,  1825;  d. 
Berlin,  Mar.  13,  1898.  Pupil  of 
Kisch,  Tedesco,  and  Tomaschek; 
d£but  Dresden  1842;  after  playing 
in  Leipzig,  lived  in  Paris,  where  he 
gave  concerts;  friend  of  Chopin; 
long  tours  in  Europe  1849-53; 
taught  in  Paris,  Dresden,  Berlin; 
compositions  all  for  pf.,  good  salon 
music,  include  sonata,  12  Etudes, 
caprices  waltzes,  etc.;  not  to  be 
confounded  with  J.  Schulhof,  compr., 
in  Pesth. 

Schumann  (shoo-man),  Georg  Alfred, 
compr.  b.  Konigstein,  Saxony, 
Oct.  25,  1866.  No  relation  to 
Robert;  pupil  pf  father  (city  mus. 
director),  of  Fischer,  Rollfuss,  etc. 
at  Dresden,  and  of  Reinecke,  Zwint- 
scher,  etc.  at  Leipzig  Cons. ;  director 
Danzig  Gesangverein  1891-96,  of 
Bremen  Philharmonic  1896-99,  of 
Berlin  Singakademie  1900;  his  chief 
compositions  are  cantata  Amor  und 
Psyche,  overture  Liebesfruhling,  or- 
chestral variations  on  choral,  Toten- 
Tdage  for  chorus  and  orch.,  Ruth, 
an  oratorio. 

Schumann,  Robert  Alexander,  compr. 
b.  Zwickau,  Saxony,  June  8,  1810; 
d.  Endenich,  near  Bonn,  July  29, 
1856.  Son  of  publisher  and  book- 
seller, who  had  made  some  transla- 
tions from  English;  showed  mus. 
ability  at  school,  organizing  band 
of  his  fellows;  after  death  of  father, 
1825,  mother  insisted  on  his  study- 
ing law  at  Leipzig  Univ.  and  at 
Heidelberg;  supported  by  teacher 
Wieck,  gained  permission  to  be 
musician;  maimed  his  hand  per- 
manently by  use  of  a  machine  for 
ringer  development;  studied  com- 
position with  Dorn,  and  composed 
early  pf.  works.  In  1834  with  others 
founded  Neue  Zeitschrift  fur  Musik, 
which  he  edited  until  1844  and  which 
was  published  until  1908;  in  this 
paper  he  wrote  acutely  and  gener- 
ously of  his  contemporaries  and 
introduced  Brahms  and  others  to 
general  notice;  here  too  started  the 
device,  afterward  transferred  to  his 


SCHUMANN 


SCHtiTT 


music,  of  writing  under  several 
names,  Florestan,  Eusebius,  etc.,  as 
members  of  "  Davidsbiind,"  a  society 
of  defence  against  Philistines;  S's 
essays  for  the  journal  were  later 
issued  in  separate  volumes.  Having 
fallen  in  love  with  his  teacher's 
daughter,  Clara  Wieck,  whose  father 
refused  his  consent,  S.  had  to  go 
through  the  unpleasant  ordeal  of 
asserting  his  right  in  the  courts;  he 
married  after  long  delay  in  1840. 
Nervous  troubles,  loss  of  memory, 
etc.,  drove  him  from  Leipzig  to 
Dresden,  and  thence  to  Diisseldorf, 
where  he  was  not  successful  as 
director  of  choral  society;  after 
concert  tour  with  wife  in  Holland, 
morbid  moods  increased,  until,  after 
an  attempt  at  suicide,  1854,  he  was 
confined  in  an  asylum  at  Bonn. 

S.  composed  curiously  almost  all 
his  works  in  one  form  at  one  time; 
his  pf.  works  before  his  marriage, 
songs  in  years  immediately  after, 
then  symphonies  (3  in  one  year), 
then  chamber  music  and  at  the  end, 
less  successfully,  choral  works.  All 
his  works  are  marked  by  strong 
personality  and  tinged  with  the 
romantic  ideal  of  close  union  between 
art  and  life.  In  his  pf.  mus.  many 
of  the  titles  (Camaval,  for  example) 
suggest  more  or  less  definite  pro- 
grams; yet  with  this  modern  color 
is  combined  a  polyphony  based  on 
admiration  and  study  of  Bach; 
it  is  distinguished  for  "  beauty  of 
phrases,  variety  of  accompaniment, 
audacity  of  discord."  [Hadow.]  In 
the  songs  and  less  directly  in  the 
chamber  music  (besides  3  quartets 
for  strings,  notably  lovely  one  in 
A  minor,  3  pf.  trios  and  pf.  quintet, 
these,  too,  have  titles  Mdrchenerzah- 
lungen,  Fantasiestucke) ,  his  music  is 
always  uttering  a  message  of  sig- 
nificance. "  He  marks  an  epoch 
because  for  the  first  time  details  of 
form  are  not  so  much  derived  from 
established  rules  as  freshly  gener- 
ated by  the  necessities  of  the  idea." 
[Pratt.]  His  orchestral  works  con- 
sist of  4  symph.,  4  concert  over- 
tures, concertos  and  concertstiicke 
for  pf.  and  for  yln.,  etc.;  choral 
works  are  Paradise  and  the  Peri, 
Das  Gluck  von  EdenhaU,  etc.,  and 
opera  Genoveva.  In  these  larger 
forms,  though  they  contain  passages 


of  rare  beauty  there  is  a  lack  of 
sustained  nobility  which  keeps  them 
below  the  highest. 

Schumann,  Clara  Josephine,  pst.  b. 
Leipzig,  Sept.  13,  1819;  d.  Frankfort- 
on-Main,  May  20,  1896.  Daughter 
and  pupil  of  Friedrich  Wieck;  first 
appearance  in  public  1828;  played 
at  Leipzig  1830,  tours  1832,  Paris 
1839,  with  brilliant  success;  married 
Robert  Schumann  1840;  after  S's 
death,  lived  in  Berlin  and  Wies- 
baden, again  appearing  at  concerts; 
taught  at  Hoch  Cons.  Frankfort 
1878-92;  as  player  she  had  as  wide 
renown  as  any  woman  ever  gained; 
her  specialty  lay  in  a  soft,  lingering 
finger  pressure;  her  compositions  are 
earnest  and  original  both  in  idea 
and  in  harmonic  treatment;  she 
edited,  also,  her  husband's  complete 
works. 

Schumann-Heink  (hink),  Ernestine, 
[nee  Roessler],  dram,  contralto,  b. 
Lieben,  near  Prague,  June  15,  1861. 
Studied  in  Graz  with  Marietta 
Leclair;  de"but  Dresden  1878;  sang 
Dresden  until  1882  when  she  married 
Heink  and  went  to  Hamburg;  ap- 
pearances as  guest  at  Paris,  London; 
Bayreuth  1896  increased  fame;  1899- 
1904  Berlin  court  opera;  first  ap- 
peared in  N.  Y.  1898,  at  Metropoli- 
tan irregularly  until  1902,  at  Man- 
hattan 1906;  season  of  comic  opera 
with  Edwards'  Love's  Lottery  1904; 
concerts  1907,  etc.;  became  an  Amer- 
ican citizen  1908;  strong,  deep  voice 
and  excellent  dramatic  power. 

Schuppanzigh  (shoop-pan'-zig),  Ignaz, 
vlt.  b.  Vienna,  1776;  d.  there,  Mar. 
2,  1830.  Organized  and  conducted 
Augarten  concerts;  as  member  of 
Prince  Rasumovsky's  quartet  played 
quartets  of  Haydn,  Mozart,  and 
Beethoven  (the  last  under  the 
compr's  own  direction);  quartet 
went  on  tours  to  Germany  and 
Russia;  S.  member  court  orch.  1824, 
director  German  opera  1828;  com- 
posed for  vln.  solo. 

Schiitt  (shutt),  Eduard,  pst.  b.  St. 
Petersburg,  Oct.  22,  1856.  Pupil 
at  St.  Petersburg  Cons,  of  Petersen 
and  Stein,  and  at  Leipzig  Cons.; 
condr.  Akademischer  Verein,  Vienna ; 
has  composed  pf.  concerto,  serenade 
for  strings,  opera,  variations  for  two 


SCHtfTZ 

pf.  and  very  many  pf.  works  of  un- 
equal value;  at  the  best  brilliant  and 
difficult. 

Schiitz  (shiitz),  Heinrich,  compr.  b. 
Kostritz,  Saxony,  Oct.  8,  1585;  d. 
Dresden,  Nov.  6,  1672.  Chorister 
in  court  chapel  at  Kassel;  entered 
as  law  student  Marburg  Univ.; 
Landgrave  Mpritz  sent  him  to  Venice 
where  he  studied  with  Gabrielli  1609- 
12;  court  orgt.  Kassel;  capellmeister 
at  Dresden  (acting  1615,  actual 
appointment  1617);  during  confusion 
at  Dresden  during  30  Years'  War, 
frequently  acted  as  court  condr.  at 
Copenhagen;  conditions  at  Dresden 
were  so  confused  that  the  greater 
part  of  S's  activity  lay  elsewhere. 
S.  first  brought  into  Germany  the 
new  ideas  and  is  important  as  pred- 
ecessor of  Bach  and  as  compr.  of 
Daphne,  1st  German  opera  (written 
on  same  libretto  by  Rinuccini  that 
Peri  had  used),  produced  at  Torgau 
1627;  also  wrote  several  -Passions, 
motets  which  tend  to  dramatic 
oratorio  form,  chorales,  etc. 

Schytte  (shut'-ta),  Ludwig  Theodor, 
pst.,  compr.  b.  Aarhus,  Jutland, 
Apr.  28,  1848;  d.  Berlin,  Nov.  10, 
1909.  Druggist  before  1870;  after 
that  pupil  of  Ree,  Neupert,  Gade, 
etc.,  of  Taubert  and  Liszt;  taught  at 
HoraVs  Inst.  Vienna  1887-88;  later 
lived  at  Berlin;  composed  about 
110  pf.  works,  Nordische  Volkstim- 
men,  Amorinen,  etc.,  concerto,  song 
cycle,  opera  Der  Mamduk,  burlesque 
operetta  Circus-Damen,  and  Hero. 

Scontrino  (skon-tre'-no),  Antonio, 
compr.  b.  Trapani,  May  17,  1850. 
Pupil  of  Platani,  and  at  Palermo 
Cons.;  after  tours  as  contra-bass 
player,  and  study  in  Munich,  taught 
and  played  in  Milan;  teacher  of 
comp.  Palermo  Cons.  1891;  since 
1892  at  Mus.  Inst.  in  Florence;  com- 
posed mus.  to  d'Annunzio's  Fran- 
cesco da  Rimini,  several  operas, 
Sinfonia  marinaresca,  overtures,  vln. 
works,  etc. 

Scriabine  (skrya-ben),  Alexander  Ni- 
colaievitch,  compr.  b.  Moscow,  Jan. 
10,  1872.  Pupil  of  Safonoff  and 
Taneiev  at  Moscow  Cons.;  gold 
medal  1892;  after  bringing  out  many 
compositions  on  European  tours, 
taught  pf.  1898-1903  at  Moscow 


SEIDL 

Cons.;  now  devoted  to  comp.;  has 
produced  2  symph.,  Reverie  for  orch., 
concerto,  3  sonatas,  studies,  etc.  for 
pf.;  widely  spoken  of  as  brilliant  pst. 
and  compr.  of  individuality,  though 
delicacy  of  pf .  pieces  suggests  Chopin, 
and  general  orchestral  style  suggests 
Wagner.  Visited  U.  S.  in  1907. 

Sechter  (sek'-ter),  Simon,  teacher,  b. 
Friedberg,  Bohemia,  Oct.  11,  1788; 
d.  Vienna,  Sept.  10,  1867.  Studied 
with  Kozeluch  and  Hartmann; 
teacher  at  Inst.  for  Blind  1811;  court 
orgt.;  prof,  harmony  and  counter- 
point Vienna  Cons,  after  1851; 
Henselt,  Bruckner,  and  Vieuxtemps 
among  pupils;  masterpiece  Grund- 
satze  der  musikalische  Komposition; 
composed  much  church  music  but 
published  little. 

Seeboeck  (sa-bek),  W.  C.  E.,  pst.  b. 
Vienna,  1860;  d. Chicago,  1906.  Pupil 
of  Epstein  and  Nottebohm  in  Vienna, 
and  of  Rubinstein;  traveled  in  Europe 
and  East;  came  to  Chicago  1881; 
accompanied  Apollo  club,  taught, 
composed  innumerable  songs  and 
2  operas;  delicate  and  ingenious  per- 
former. 

Seeling  (sa'-ling),  Hans,  pst.  b.  Prague, 
1828;  d.  there,  May  26,  1862.  Went 
to  Italy  1852,  thence  on  tour  to  the 
East,  living  in  turn  after  1857  11. 
Italy,  Paris,  and  Germany;  performer 
of  excellent  style  and  continued 
success;  composer  of  brilliant  pf. 
pieces,  Lorelei,  Memories  of  an  Artist 
(arranged  later  for  orch.  by  Miiller- 
Berghaus). 

Seidl  (sidl),  Anton,  condr.  b.  Pesth, 
May  7,  1850;  d.  New  York,  Mar.  28, 
1898.  Studied  at  Leipzig  Cons.; 
chorusmaster  at  Vienna  Opera  under 
Richter;  recommended  by  R.  to 
Wagner  whom  he  assisted  with  pro- 
duction of  Ring,  etc.,  until  1879; 
condr.  Leipzig  opera  1879-82;  condr. 
of  Neumann's  touring  Wagner  Opera 
Co.  1882-83;  condr.  Bremen  ope^a 
1883-85;  at  Metropolitan,  N.  Y.. 
1885-1892,  1895-97,  supplementary 
German  opera  1895;  of  Philharmonic 
Concerts  in  N.  Y.  and  on  tours  with 
orch.;  1897  condr.  at  Covent  Garden 
and  at  Bayreuth;  not  an  academi- 
cally trained  condr.,  his  complete 
devotion  (especially  to  Wagner's 
music),  his  great  gifts,  and  mastery 


SEIFERT 


SEROV 


of  orchestra  made  him  very  power- 
ful; most  important  in  establishing 
admiration  for  Wagner  in  U.  S. 

Seifert  (sf-fert),  Uso,  pf.  teacher,  b. 
Romhild,  Thuringia,  Feb.  9,  1852. 
Studied  with  Blassmann,  Merkel, 
Nicod6,  etc.  at  Dresden  Cons.,  where 
he  now  teaches;  orgt.  at  Dresden; 
known  for  editions  of  older  instruc- 
tive pf.  music,  compositions  for  pf., 
songs,  and  widely  used  pf.  method. 

Seiss  (sis),  Isidor  Wilhelm,  pst.  b. 
Dresden,  Dec.  23,  1840;  d.  Cologne, 
Sept.  25,  1905.  Pupil  of  Wieck  and 
J.  Otto,  and  at  Leipzig  Cons,  of 
Hauptmann;  teacher  at  Cologne 
Cons.  1871;  condr.  Mus.  Gesellschaft; 
made  very  interesting  transcriptions 
of  Haydn  quartets,  editions  of 
Beethoven's  dances,  etc.;  fine  critic, 
as  well  as  tasteful  compr.  chiefly  of 
instructive  pieces. 

Selby,  Bertram  Luard,  orgt.  b.  Ightham, 
Kent,  Eng.,  Feb.  12,  1853.  Pupil 
at  Leipzig  Cons,  of  Reinecke  and 
Jadassohn;  orgt.  Salisbury  Cath. 
1881-83,  in  London,  Rochester  Cath. 
since  1900;  composed  incidental 
music  to  Helena  in  Troas  1886,  a 
musical  duologue,  Weather  or  no, 
1896,  orchestral  Idyl,  quintets,  pf. 
pieces,  songs,  etc. 

Selmer,  Johann,  compr.,  condr.  b. 
Christiania,  Norway,  Jan.  20,  1844; 
d.  Venice,  July  22,  1910.  After  pre- 
liminary studies  he  spent  two  years 
at  the  Paris  Cons,  under  Thomas; 
at  Leipzig  1872-74;  returning  to 
Norway  he  succeeded  Syendsen  as 
director  of  the  Christiania  Musical 
Society;  compositions  include  num- 
bers for  orchestra,  choral  works, 
transcriptions  of  folk-songs  and  many 
songs;  his  works  belong  to  the  music 
school  with  a  realistic  tendency. 

Sembrich  (sem'-brik)  Marcella  [stage 
name  of  Praxede  Marcelline  Kochan- 
ska;  Sembrich  is  mother's  maiden 
name],  dram.  sop.  b.  Wisniewczyk, 
Galicia,  Feb.  15,  1858.  Pupil  in 
vln.  and  pf.  at  Lemberg  Cons,  of 
Stengel  (whom  she  later  married), 
also  of  Epstein  at  Vienna;  discovered 
the  value  of  her  voice  and  became 
pupil  of  Rokitansky,  and  Lamperti; 
d6but  Athens  1877;  after  study  of 
German  opera  with  R.  Lewy,  engaged 


at  Dresden  1878-80,  at  London  1880- 
85;  first  appearance  in  N.  Y.  1883, 
sang  there  1898-1900,  1901-1909, 
when  she  formally  retired;  on  con- 
cert tours  of  wide  range,  from  St. 
Petersburg  to  Spain  and  San  Fran- 
cisco, and  in  operas  where  genuine 
soprano  is  required,  she  has  every- 
where won  ardent  admiration  for 
the  exquisite  quality  of  her  voice 
(which  is  compared  to  Patti's)  and 
at  the  same  time  for  her  deeply  in- 
telligent artistic  mastery. 

Senesino  (sen-e-ze-no),  [stage  name  of 
Francesco  Bernardi],  dram,  mezzo  sop. 
b.  Siena,  about  1680;  d.  there,  about 
1750.  Pupil  of  Bernacchi  at  Bologna; 
first  sang  at  Dresden;  1719  engaged 
by  Handel  for  London  where  he 
appeared  in  several  of  Handel's  and 
Bononcini's  operas  1720-28,  1730-33, 
then  at  rival  house  under  Porpora 
1733-35;  returned  to  Siena  with  for- 
tune; voice  of  less  wide  compass  than 
Farinelli's,  but  quite  its  equal  in 
clear,  flexible  tone,  and  in  simple 
expressiveness . 

Senkrah  [pseud,  of  Anna  Loretta  Hark- 
nes],  vti.  b.  Williamson,  New  York, 
June  6,  1864;  d.  Weimar,  Sept.,  1900. 
Pupil  of  Hilf,  Wieniawski,  and  Mas- 
sart;  1st  prize  Paris  Cons.  1881, 
concert  tours  since  1882;  married 
Hoffmann,  of  Weimar,  1888;  com- 
mitted suicide. 

Serafino  (se-ra-fe'-no),  Santo,  vln.- 
maker.  b.  Udine,  1678;  d.  Venice, 
1735.  Pupil  probably  of  Tyrolese 
maker,  later,  by  own  statement,  of 
Amati;  as  early  as  1710  he  was 
settled  at  Venice;  shape  of  instru- 
ments like  Stainer's  or  Amati's, 
seldom  varied;  closely  resembles 
work  of  Ruggeri;  wood  of  ex- 
traordinary beauty,  with  remarkable 
red  varnish.  Grandson  Giorgio,  also 
maker  at  Venice  1742-47;  inferior 
imitative  work. 

Serov,  Alexander  Nikolaievitch,  compr. 
b.  St.  Petersburg,  Jan.  23,  1820;  d. 
there,  Feb.  1,  1871.  Lawyer  by  pro- 
fession, holding  government  offices 
till  1868;  had  lessons  on  'cello  from 
Schuberth;  after  some  early  composi- 
tions, in  1850  turned  to  mus.  criti- 
cism, in  which  he  showed  violent  par- 
tisanship for  Wagner,  etc.;  composed 
grand  operas  to  his  own  librettos, 


SERVAIS 


SHEPARD 


Judith  1863,  Rogneaa  1865,  and  3 
unfinished  (Power  of  Evil  completed 
by  Soloviev,  produced  1871);  lect- 
ured at  Moscow  and  St.  Petersburg 
universities;  operas  especially  ad- 
mired for  natural  quality  of  national 
life. 

Servais  (sar'-va),  Adrien  Frangois, 
'cellist,  b.  Hal,  near  Brussels,  June 
6,  1807;  d.  there,  Nov.  26,  1866. 
Pupil  of  father  and  at  Brussels  Cons, 
of  Platel;  played  in  theatre  orch.; 
concert  de"but  Paris  1834;  after 
playing  in  London  and  further  study 
spent  12  years  in  tours;  prof,  at 
Brussels  Cons,  after  1848;  composed 
16  fantasias,  3  concertos,  caprices 
and  duets  on  operatic  airs  with  Gre- 
goir  and  Vieuxtemps.  Son  Joseph 
(1850-1885),  also  Cellist;  member 
Weimar  orch.,  prof,  at  Brussels  Cons. 

Sevclk  (s6f-chlk),  Otokar  Joseph,  vln. 
teacher,  b.  Horazdowitz,  Bohemia, 
Mar.  22,  1852.  Pupil  of  father,  A. 
Sitt,  and  Bennewitz;  concertmaster 
Salzburg  and  1873  Vienna;  teacher 
at  Kiev  1875-92;  1892-1909  at 
Prague  Cons.;  1909  Vienna  Con- 
servatory; his  original  system  has 
K'oduced  many  notable  pupils, 
ubelik,  Kocian,  Marie  Hall,  etc.; 
method,  published  in  4  books,  fol- 
lows system  of  stopping  of  semitones 
by  same  fingers  on  each  string;  in 
later  book  technic  of  bow  carried 
out  in  minute  detail. 

Seyfried  (si-fred),  Ignaz  Xaver,  Ritter 
von,  compr.  b.  Vienna,  Aug.  15, 
1776;  d.  there,  Aug.  27,  1841.  Gave 
up  study  of  law;  mus.  pupil  of 
Mozart,  Kozeluch,  Albrechtsberger, 
and  Von  Winter;  capellmeister  at 
Vienna  theatres  1797-1826;  compr. 
of  many  unimportant  works;  edited 
Beethoven's  exercises,  Albrechts- 
berger's  theoretical  works,  etc.; 
contributor  to  Allgem.  Zeitung  and 
Cdcilia. 

Sgambati  (sgam-ba'-te) ,  Giovanni,  pst., 
compr.  b.  Rome,  May  18,  1843. 
Pupil  of  Aldega,  Barbieri,  Nata- 
lucci,  and  Liszt;  gave  orchestral 
concerts;  produced  Beethoven's 
Eroica  and  Liszt's  Dante  symph. 
in  Italy;  after  concert  tours  in  Italy 
and  Germany,  taught,  since  1877,  at 
pf.  school  connected  with  Accad.  di 
S.  Cecilia;  admirer  of  Wagner,  who 


recommended  him  to  publisher  1876; 
composed  symph.,  widely  known 
quartet  in  D  flat,  quintets,  requiem, 
exquisite  pf.  music  (Pieces  lyriques, 
Melodies  poetiques,  etc.). 

Shakespeare,  William,  singing  teacher. 
b.  Croydon,  Eng.,  June  16,  1849. 
Chorister  and  orgt.  when  a  boy; 
pupil  of  Molique,  at  Royal  Acad. 
of  Bennett,  as  Mendelssohn  Scholar 
at  Leipzig  Cons,  of  Reinecke,  and 
at  Milan  with  Lamperti  for  voice 
especially;  fine  tenor  singer,  popular 
in  Eng.  concerts,  etc.  after  1875; 
prof.  Royal  Acad.  1878-86;  distin- 
guished as  teacher;  published  Art 
of  Singing  1898,  '99,  revised  1910. 

Sharpe,  Herbert  Francis,  pst.  b.  Hali- 
fax, Yorkshire,  Mar.  1,  1861.  Stu- 
died at  Nat'l  Training  School,  where 
he  was  Queen's  Scholar;  d6but  Lon- 
don 1882;  prof.  Royal  Coll.  Mus. 
1884,  examiner  of  Associated  Board 
1890;  organized  trio  concerts  1899- 
1902;  composed  comic  opera,  over- 
ture, pieces  for  flute  or  vln.  and  pf., 
songs,  etc. 

Shedlock,  John  South,  writer,  b.  Read- 
ing, Eng.,  Sept.  29,  1843.  Graduated 
at  London  Univ.  1864;  pupil  of  Lii- 
beck  and  Lalo;  taught  and  played 
in  London;  critic  for  Academy  1879; 
for  Athenaeum  1901;  lectured  Royal 
Acad.;  published  many  articles, 
useful  book  on  Pianoforte  sonata, 
origin  and  development. 

Shelley,  Harry  Rowe,  compr.  b.  New 
Haven,  Conn.,  June  8,  1858.  Pupil 
of  G.  J.  Stoeckel  at  Yale,  of  Dudley 
Buck,  Vogrich,  and  DvoMk;  orgt. 
in  New  Haven,  Brooklyn,  and  N.  Y.; 
teacher  of  theory  and  comp.  at 
Metropolitan  Coll.,  N.  Y.;  composed 
opera,  cantatas  (The  inheritance 
divine,  Death  and  life),  ballads,  songs, 
and  excellent  church  and  org.  music. 

Shepard,  Frank  Hartson,  orgt.  b. 
Bethel,  Conn.,  Sept.  20,  1863.  Pupil 
of  E.  Thayer,  and,  after  several 
appointments  as  orgt.,  of  Zwint- 
scher,  Jadassohn,  Reinecke,  etc.,  at 
Leipzig,  where  he  was  orgt.  of  Eng. 
church;  orgt.  and  founder  of  music 
school  at  Orange,  N.  J.;  author  of 
How  to  Modulate  and  Harmony 
Simplified,  in  which  he  develops 
interesting  theory  of  "  attendant 
chords." 


SHEPARD 


SILOTI 


Shepard,  Thomas  Griffin,  orgt.  b. 
Madison,  Conn.,  Apr.  23,  1848;  d. 
Brooklyn,  1905  (?).  Pupil  of  G.  W. 
and  J.  P.  Morgan;  orgt.  in  New  Ha- 
ven, at  various  churches  since  1865; 
instructor  of  Yale  Glee  Club;  condr. 
New  Haven  Oratorio  Soc.,  of  Apollo 
Club,  teacher  of  theory,  org.,  etc.; 
compr.  of  cantata,  anthems,  offer- 
tories, etc. 

Sherwood,  William  Hall,  pst.,  teacher 
b.  Lyons,  N.  Y.,  Jan.  31,  1854;  d. 
Chicago,  Jan.  7,  1911.  Pupil  of  his 
father,  of  Wm.  Mason,  etc.,  and  for 
five  years  in  Europe  of  Kullak, 
Weitzmann,  Deppe,  Liszt,  etc.; 
de"but  Berlin;  after  1876  gave  con- 
certs in  U.  S.,  then  taught  at  N.  E. 
Cons.,  Boston,  and  in  N.  Y.;  after 
1889  in  Chicago  head  of  pf.  dept.  at 
Cons.,  1897  of  Sherwood  Piano  Sch.; 
head  of  music  department  Chautau- 
qua,  N.  Y.;  teacher  of  Clayton 
Johns  and  A.  Whiting;  compositions, 
all  for  pf.,  include  suites,  Scherzo 
caprice,  etc.;  eminent  American  vir- 
tuoso, especially  remarkable  for 
wide  range,  intelligent  use  of  tech- 
nical ability,  and  reposeful  reser- 
vation of  power. 

Shield,  William,  compr.  b.  Whickham, 
Durham,  Mar.  5,  1748;  d.  London, 
Jan.  25,  1829.  Pupil  of  father  and 
of  Avison;  after  apprenticeship  to 
shipbuilder,  became  condr.  in  Scar- 
borough th.;  vlt.  in  opera  orch., 
London  1772,  1st  viola  1773-1791; 
compr.  to  Covent  Garden  1778-91, 
1792-97;  resigned  from  theatre  1807; 
master  of  royal  music  1817;  author 
of  popular  songs  (The  Thorn,  The 
Ploughboy,  etc.),  Introd.  to  harmony, 
Rudiments  of  thorough-bass,  and  about 
40  farces,  operas,  etc.,  into  which 
he  frequently  interpolated  famous 
songs  of  others;  melodies  vigorous, 
refined;  English  favorite. 

Sibelius  (si-ba'-lius),  Jean,  compr.  b. 
Tavastehus,  Finland,  Dec.  8,  1865. 
Pupil  of  Wegelius  at  Mus.  Inst., 
Helsingfors,  and  of  A.  Becker  and 
K.  Goldmark;  teacher  of  theory  at 
Inst.  and  Orchestra  School,  Helsing- 
fors, after  1893;  for  a  time  enjoyed 
gov't  pension;  composed  Finnish 
opera  The  Maiden  in  the  Tower, 
said  to  be  first  nat'l  opera,  2  sym- 
phonies, symph.  poems,  Der  Schwan 
von  Tuonela,En  Saga  Lemminkdinen, 


Finlandia,  etc.,  and  songs;  note- 
worthy for  use  of  folk-songs,  per- 
sistent repetition  of  single  notes  and 
of  5-4  rhythms. 

Sieber  (se'-ber),  Ferdinand,  singing 
teacher,  b.  Vienna,  Dec.  5,  1822;  d. 
Berlin,  Feb.  19,  1895.  Pupil  of 
Misch  and  Ronconi;  sang  in  opera; 
taught  in  Dresden  1848-54,  then 
in  Berlin;  composed  over  100  works, 
including  very  many  valuable 
vocalises  and  exercises  as  well  as 
songs;  compiled  catalog  of  10,000 
songs,  arranged  according  to  voice. 

Sieveking  (se'-v6-king),  Martinus,  pst. 
b.  Amsterdam,  Mar.  24,  1867. 
Studied  with  father,  F.  Coenen,  and 
with  Rontgen  at  Leipzig  Cons.; 
played  with  success  in  Paris,  London, 
and  U.  S.  1895. 

Silas  (se'-laz),  Eduard,  pst.,  compr.  b. 
Amsterdam,  Aug.  22,  1827;  d.  Lon- 
don, Feb.  8,  1909.  First  appearance 
as  prodigy  at  Amsterdam,  1837; 
studied  with  Grua,  Lacombe,  Kalk- 
brenner,  and  at  Paris  Cons,  with 
Benoist  and  HaleVy;  orgt.  in  Eng. 
1850;  prof,  harmony  at  Guildhall 
Sch.  and  at  London  Acad.  Mus.; 
compositions,  which  have  made  way 
in  face  of  adverse  criticism,  include 
mass  (prize,  Belgium,  1866),  oratorio 
Joash,  pf.  concerto,  Mythological 
pieces  for  orch.,  many  pf.  pieces; 
opera  and  theoretical  works  unpub- 
lished. 

Silcher  (sil'-ker),  Friedrich,  compr.  b. 
Schnaith,  Wiirttemberg,  June  27, 
1789;  d.  Tubingen,  Aug.  26,  1860. 
Pupil  of  father  and  orgt.  Auberlen: 
taught  at  Stuttgart;  mus.  dir.  Univ. 
Tubingen  after  1817;  by  his  Samm- 
lung  deutscher  Volkslieder  and  Choral- 
buch,  did  much  to  advance  German 
popular  singing;  some  of  his  song*- 
therein  have  become  folk-songs 
(Aennchen  von  Tharau,  Ich  weii 
nicht  was  soil  es  bedeuten);  published 
harmony  method. 

Siloti  (sl-16'-te),  Alexander,  pst.  b. 
Charkov,  Russia,  Oct.  10,  1863. 
Studied  at  Moscow  Cons.  1875-81 
with  Zwereff,  N.  Rubinstein,  and 
Tchaikovski;  d6but  Moscow  1880, 
followed  by  great  success  in  Leipzig; 
after  further  study  with  Liszt, 
1883-86,  at  Weimar,  prof,  at  Moscow 
Cons.  1887-90;  concert  tours;  condr. 


SIMPER 


SLAUGHTER 


Moscow  Philharmonic  1901-02,  St. 
Petersburg,  etc.;  American  tours 
1898,  1903. 

Simper,  Caleb,  orgt.  b.  Barford  St. 
Martin,  Wiltshire,  Sept.  12,  1856. 
Orgt.  in  Worcester  14  years ;  manager 
for  E.  J.  Spark;  living  in  Barnstable; 
compr.  of  many  simple  anthems 
(7  will  feed  my  flock,  He  is  risen),  and 
of  some  prize  hymn  tunes. 

Sinding,  Christian,  compr.  b.  Kongs- 
berg,  Norway,  Jan.  11,  1856.  Stud- 
ied at  Leipzig  Cons,  with  Reinecke, 
and  at  Dresden,  Munich,  and  Berlin; 
orgt.  and  teacher  at  Christiania; 
composed  for  orch.  symphonies,  pf. 
concerto,  symph.  poem,  pf.  quartets 
and  quintet,  vln.  sonatas,  and  many 
pf.  pieces  (Variations,  Romance, 
Characterstucke,  very  popular  Friih- 
lingsrauschen,  etc.);  technical  ability 
is  fluent  and  sure,  his  ideas,  though 
not  deep,  are  melodious  and  often 
interestingly  national  in  flavor,  and 
his  treatment  of  them  is  modern. 

Singelee  (san-zhe-la),  Jean  Baptiste, 
vlt.  b.  Brussels,  Sept.  25,  1812;  d. 
Ostende,  Sept.  29,  1875.  Composed 
many  works  for  vln.,  especially  fan- 
tasias on  operatic  airs,  and  several 
concertos.  Daughter  Louise  (1844- 
1886)  was  singer,  and  his  brother 
Charles  (1809-1867)  was  also  vlt. 

Singer,  Otto,  pst.  b.  Sora,  Saxonv, 
July  26,  1833;  d.  New  York,  Jan.  3, 
1894.  Pupil  at  Kreuzschule,  Dres- 
den, at  Leipzig  Cons,  of  Moscheles, 
Hauptmann,  etc.,  and  of  Liszt; 
taught  in  Leipzig,  Dresden,  in  New 
York  at  Mason  and  Thomas  Cons. 
1867-73,  in  Cincinnati  Coll.  of  Mus. 
1873-1893,  then  again  in  N.  Y.;  also 
condr.  May  Festivals  at  Cincinnati; 
composed  cantatas  (Landing  of  Pil- 
grim Fathers,  etc.),  symphonies,  con- 
certos, Symphonic  fantasia,  etc.  His 
son  Otto,  condr.,  compr.  b.  Dresden, 
Sept.  14,  1863.  Early  youth  spent 
in  U.  S.  A.  where  he  studied  with  his 
father;  then  in  Germany  with  Kiel, 
Joachim  and  Rheinberger.  Condr. 
Heidelberg  Liederkranz,  1888;  suc- 
cessor to  Zollner  as  teacher  Cologne 
Cons,  and  dir.  Mannergesangsvereins 
1890;  in  Leipzig  1892;  later  settled 
in  Munich.  Especially  skilful  in 
transcr.  for  piano  complicated  mod- 
ern orchestral  scores. 


Sirt,  Hans,  vlt.  b.  Prague,  Sept.  21, 
1850.  Son  of  vln. -maker,  Anton  S.; 
pupil  at  Prague  Cons,  of  Bennewitz, 
Mildner,  etc.;  leader  th.  orch.  Bres- 
lau  1867,  capellmeister  there,  in 
Prague  1870-73,  and  in  Chemnitz 
1873-80;  condr.  at  Nice;  founder  of 
popular  concerts  at  Leipzig,  teacher 
in  Cons.,  viola  player  in  Brodsky 
Quartet,  condr.  Bach  Verein  1885- 
1903,  Singakademie,  and  concerts 
at  Altenburg;  composed  concertos 
for  vln.  and  viola,  solos,  etc.  which 
have  been  well  received. 

Sivori  (sl-vo'-rl),  Ernesto  Camillo,  vlt 
b.  Genoa,  Oct.  25,  1815;  d.  there, 
Feb.  18,  1894.  D6but  at  6  as  pupil 
of  Restano;  later  studied  with  Costa 
and  Paganini,  whom  he  imitated 
and  whose  works  he  interpreted 
well;  almost  constant  tours  after 
1827  to  England,  to  U.  S.  1846-48, 
etc. ;  style  somewhat  cold  and  devoid 
of  feeling. 

Sjbgren  (sha-gren'),  Johann  Gustav 
Emil,  compr.  b.  Stockholm,  June  16, 
1853.  Studied  at  Stockholm  Cons, 
and  at  Berlin  with  Kiel  and  Haupt; 
orgt.  in  Stockholm  since  1891 ;  compr. 
of  pf.  music,  vln.  sonatas,  and  espe- 
cially of  songs,  not  exclusively  Scan- 
dinavian in  feeling. 

Skroup  (shkroop),  Franz,  compr.  b. 
Vosicz,  Bohemia,  June  3,  1801;  d. 
Rotterdam,  Feb.  7,  1862.  Student 
of  law  and  music  at  Prague;  condr. 
Bohemian  Th.,  Prague,  and  at  Rot- 
terdam opera  after  1860;  brought 
out  works  of  Wagner;  as  compr.,  es- 
pecially of  songs,  attained  great  pop- 
ularity (national  hymn  Where  is  My 
Country  f),  and  of  first  national  Bohe- 
mian opera  (Dr&Tenik);  with  Sme- 
tana  accomplished  deliberately  the 
emancipation  of  national  art  by 
developing  national  color;  Skroup 
initiated  movement.  Brother  Jan 
Nepomuk  (1811-1892),  chorusmaster, 
capellmeister,  condr.,  singing  teacher 
at  Prague. 

Slaughter,  Walter  A.,  compr.  b.  Lon- 
don, Feb.,  1860;  d.  there,  Apr.  2, 
1908.  Pupil  of  A.  Cellier  and 
Jacobi;  condr.  of  several  London 
theatres;  compr.  of  several  success- 
ful musical  comedies,  An  Adamless 
Eden,  A  French  Maid;  music  to 
Thackeray's  Rose  and  Ring,  etc. 


SLIVINSKI 


SMITH 


Slivinski  (sli-vin'-ski),  Joseph  von,  pst. 
b.  Warsaw,  Dec.  15,  1865.  Studied 
at  Warsaw  with  Strobl,  at  Vienna 
with  Leschetizky  for  four  years,  at 
St.  Petersburg  with  A.  Rubinstein; 
d6but  1890;  played  in  England  and 
America  1893  (again  in  1900  and 
1901);  playing  remarkable  for  ac- 
curacy, strength,  spirit,  and  variety. 

Smallwood,  William,  orgt.,  compr.  b. 
Kendal,  Eng.,  Dec.  31, 1831;  d.  there, 
Aug.  6,  1897.  Studied  with  Camidge 
and  Phillips;  orgt.  Kendal  1847-97; 
compr.  of  instructive  pf.  pieces 
(Flowers  of  Melody,  etc.),  anthems, 
etc.;  author  of  widely  sold  Piano- 
forte Tutor. 

Smart,  Sir  George  Thomas,  compr.  b. 
London,  May  10,  1776;  d.  there, 
Feb.  23,  1867.  Chorister  in  Chapel 
Royal  under  Ay rton ;  pupil  of  Dupuis 
and  Arnold;  vlt.  at  Salomon  con- 
certs; condr.  of  concerts  at  Dublin, 
knighted  there;  original  member 
Philharmonic  Soc. ;  condr.  of  its  con- 
certs 1813-44;  director  City  Con- 
certs 1818;  orgt.  1822,  and  compr. 
1838,  at  Chapel  Royal;  gave  lessons 
in  singing  until  over  80;  edited  Gib- 
bons' madrigals,  etc.,  published  2 
vols.  of  sacred  music,  collection  of 
glees  (Squirrel  and  Butterfly's  Ball, 
well  known) ;  as  condr.  he  introduced 
several  important-  works  into  Eng- 
land (Beethoven's  Mount  of  Olives'); 
influential  in  engaging  Weber  to 
bring  out  Oberon  in  Eng.;  Weber 
died  at  S's  house. 

Smart,  Henry,  orgt.,  compr.  b.  London, 
Oct.  26,  1813;  d.  there,  July  6,  1879. 
Pupil  of  father  Henry  (1778-1823, 
brother  of  Sir  George),  and  Reams; 
orgt.  at  several  London  churches 
after  1836;  blind  after  1864;  dis- 
tinguished orgt.,  composed  much 
for  his  instrument;  also  wrote  can- 
tatas (Bride  of  Dunkerron,  King 
Rent's  Daughter,  etc.);  especially 
noteworthy  as  compr.  of  part-songs 
(Waves'  Reproof,  Ave  Maria,  Night 
Sinks  on  the  Wave,  etc.). 

Smetana  (sme'-ta-na),  Bedrich,  compr. 
b.  Leitomischl,  Bohemia,  Mar.  2, 
1824;  d.  Prague,  May  12,  1884.  Pf. 
pupil  of  Proksch  and  Liszt;  opened 
mus.  school  Prague  1848;  condr. 
Philharmonic  Soc.  at  Gothenburg, 
Sweden,  1856;  after  concert  tour  in 


Sweden  and  Germany,  condr.  Nat'l 
Bohemian  Th.,  Prague,  1866-74, 
when  he  became  deaf;  continued 
composition  under  increasing  diffi- 
culty until  he  became  insane,  1882; 
in  asylum  April,  1884;  beside  many 
works  for  pf.,  songs,  etc.,  composed 
for  orch.  (Wallenstein's  Lager,  series 
of  6  symphonic  poems,  Md  vlasl, 
"  My  Country  "),  and  8  operas  (Die 
verkaufte  Braut,  Libusa,  Der  Kuss, 
etc.),  quartet  Aus  meinem  Leben 
(mus.  autobiography);  greatest  of 
Bohemian  composers,  real  creator 
of  artistic  Bohem.  mus.  and  of  later 
school  (Dvorak  and  Fibich).  [Lives 
by  WaUek,  Ritter,  and  Hostinsky.] 

Smith,  Alice  Mary,  compr.  b.  London, 
May  19,  1839;  d.  there,  Dec.  4,  1884. 
Studied  with  W.  S.  Bennett  and  G. 
A.  Macfarren;  married  F.  Meadows 
White  1867;  comp.  5  cantatas  (Ode 
to  the  Northeast  Wind,  etc.),  symph., 
overtures  (Endymion,  Masque  of 
Pandora),  quartets,  clarinet  concerto, 
songs,  duets  (O  That  We  Two  Were 
Maying,  etc.);  possibly  most  distin- 
guished of  English  women  comprs. 
of  her  period. 

Smith,  Edward  Sydney,  compr.  b. 
Dorchester,  July  14,  1839;  d.  Lon- 
don, Mar.  3,  1889.  Studied  with 
Moscheles,  Plaidy,  etc.  at  Leipzig 
Cons.;  teacher  in  London  after 
1859;  composed  showy  but  not 
very  difficult  pf.  mus.  (Le  jet  d'eau, 
The  Spinning  Wheel,  etc.);  some- 
times used  pseud.  Victor  Delacour. 

Smith,  Gerrit,  orgt.  b.  Hagerstown, 
Md.,  Dec.  11,  1859.  Graduated  at 
Hobart  College,  N.  Y.;  pupil  at 
Stuttgart  Cons.,  of  E.  Thayer,  W.  H. 
Sherwood,  Haupt,  and  Rohde;  orgt. 
at  Buffalo  while  still  studying;  since 
at  Albany  and  New  York;  prof,  of 
music  at  Union  Theological  Semi- 
nary; pres.  Mss.  Soc.;  distinguished 
concert  orgt.;  compr.  cantata  David 
and  smaller  works,  chiefly  songs  and 
pf.  pieces. 

Smith,  Wilson  George,  pst.,  compr.  b. 
Elyria,  O.,  Aug.  19,  1855.  Studied 
at  Cincinnati  with  O.  Singer  1876- 
80,  at  Berlin  with  Kiel,  P.  and  X. 
Scharwenka,  Moszkowski,  etc.  1880- 
82;  teaching  in  Cleveland  since  1882; 
composed  many  brilliant  pf.  works, 
Hommage  a  Grieg,  a  Schumann,  a 


SMYTH 


SPALDING 


Chopin,  etc.,  in  which  he  skilfully 
follows  the  masters  in  question; 
teaching  works,  Scale  playing,  etc., 
are  valuable. 

Smyth,  Ethel  Mary,  compr.  b.  Lon- 
don, Apr.  23,  1858.  Pupil  at  Leipzig 
Cons,  and  of  H.  von  Herzogenberg; 
comp.  chamber  mus.,  serenade  for 
orch.,  overture  Antony  and  Cleo- 
patra, Solemn  Mass  (London  1893); 
operas  Fantasia  (Weimar  1898)  and 
Der  Wold  (Dresden  1901,  London 
1901,  '02  and  New  York  Metropoli- 
tan 1903),  Les  naufrageurs  (Leipzig 
and  Prague  1906). 

Sodermann  (se'-der-man) ,  August  Johan 
compr.  b.  Stockholm,  July  17,  1832; 
d.  there,  Feb.  10,  1876.  Pupil  of 
Leipzig  Cons.;  condr.  Stockholm  Th. 
after  1862;  composed  about  60 
works,  operettas  Wedding  at  Ulfasa, 
incidental  music  to  Jungfrau  von 
Orleans,  part-songs  (Brdllop,  quartet 
for  women's  voices,  popular  in  Ger- 
many), mass  (said  to  be  greatest 
work),  songs  to  words  of  Bellman; 
"  compositions,  though  thoroughly 
Swedish,  are  not  national."  [Grove.] 

Sokolov  (sok-o-loff),  Nicholas  Alex- 
androvitch,  compr.  b.  St.  Peters- 
burg, Mar.  26,  1859.  Pupil  of 
Johannsen  and  Rimsky-Korsakov 
at  St.  P.  Cons.;  teacher  of  theory 
at  Imperial  Chapel  1886,  at  Cons. 
1896;  composed  string  quartets, 
symphonies,  works  for  vln.,  pf.,  and 
voices,  music  to  Shakespeare's 
Winter's  Tale  and  to  A.  Tolstoi's 
Don  Juan. 

Soloviev  (sol-o-vyof),  Nicolai  Theo- 
pemptovitch,  compr.,  critic,  b.  Petro- 
sadovsk,  prov.  of  Olonetz,  Russia, 
May  9,  1846.  Pupil  of  Zaremba  at 
Imp.  Cons.;  prof,  of  harmony  and 
mus.  hist,  at  St.  Petersburg  Cons.; 
counsellor  of  state;  critic  and  editor 
of  lexicon;  composed  operas  (Cor- 
delia 1885),  overture  on  a  national 
theme,  symph.  poem  Russes  et 
Mongols;  completed  Serov's  Power 
of  the  Demon. 

Somervell,  Arthur,  compr.  b.  Wind- 
ermere,  Eng.,  June  5,  1863.  Studied 
at  Berlin  Hochschule,  and  at  Royal 
Coll.  Mus.  with  Parry  and  Stanford; 
government  inspector  for  England, 
Wales,  and  Scotland;  Mus.  Doc. 
Cambridge  1903;  composed  many 


graceful  songs,  orchestral  ballads 
and  cantatas,  Helen  of  Kirkconnell, 
Forsaken  Merman,  Seven  Words 
from  Cross,  few  orchestral  works. 

Somis  (so-mis'),  Giovanni  Battista,  vlt. 
b.  Piedmont,  1676;  d.  Turin,  Aug. 

14,  1763.     Pupil  of  Corelli;    court 
soloist  and  condr.  at  Turin;  teacher 
of  Giardini,  Leclair,  and  Chabran; 
comp.  sonatas  for  vln.,  'cello,  and  pf. 

Sontag,  Henriette  Gertrude  Walpurgis, 
dram.  sop.  b.  Coblenz,  Jan.  3, 
1806;  d.  Mexico,  June  17,  1854. 
Child  actress;  pupil  at  Prague  Cons, 
of  Pixis,  Triebensee,  Czeska,  etc.; 
sang  at  Vienna;  created  title  part 
in  Euryanthe  1823;  great  success  in 
Leipzig,  Berlin,  and  Paris,  where  she 
defeated  Catalani,  breaking  Berlin 
contract  1827;  married  Count  Rossi 
in  London  1828;  retired  from  stage 
1830,  continued  success  in  concerts, 
returned  to  stage  1848,  singing  with 
unfailing  fortune  in  London,  Paris, 
New  York,  1852,  and  Mexico. 

Soubies  (so-bes'),  Albert,  writer,  b. 
Paris,  May  10,  1846.  After  admis- 
sion to  bar,  studied  comp.  at  Cons, 
with  Savard  and  Bazin;  revived 
Almanack  des  spectacles  1874-79; 
critic  for  Le  soir,  contributor  to 
Menestrel,  etc.;  has  written  series  of 
histories  of  music  in  separate  coun- 
tries (Russia,  Portugal,  etc.),  histories 
of  opera  and  comic  opera  chiefly  in 
Paris,  and  work  on  Wagner. 

Sousa,  John  Philip,  condr.,  compr.  b. 
Washington,  D.  C.,  Nov.  6,  1856. 
Pupil  of  J.  Esputa  and  G.  F.  Ben- 
kert;  condr.  traveling  company  at 
17;  vlt.  in  Offenbach's  Co.  1877; 
director  Philadelphia  Church  Choir 
Pinafore  Co.;  leader  of  U.  S.  Marine 
Corps  band  1880-92;  condr.  of  own 
band  with  which  he  has  been  on 
extended  tours;  compr.  of  several 
comic  operas  (The  Bride-elect,  El 
Capitan,  etc.),  and  many  stirring 
military  marches,  which  have  been 
very  popular. 

Spalding,  Albert,  vlt.    b.  Chicago,  Aug. 

15.  1888.     Studied  with  Jean  Buit- 
rago  in   New  York,   with   Chiti  in 
Florence    (where    he    appeared    at 
private     concert     at     10);      passed 
examination    for    professorship    at 
Bologna  Cons,  at  14;    after  further 
study  with  Lefort  in  Paris,  d6but 


SPALDING 


SPITTA 


there  1906;  continued  success  in 
Europe  1907,  '08  and  in  New  York 
1909. 

Spalding,  Walter  Raymond,  teacher,  b. 
Northampton,  Mass.,  May  22,  1865. 
Graduated  Harvard  1887,  A.M., 
with  honors  in  music,  1888;  also 
studied  in  Paris  and  Munich; 
master  of  classics  and  mus.  at  St. 
Mark's  School,  Southboro,  1889-92; 
orgt.  at  Emmanuel  Ch.,  Boston, 
1887-88,  orgt.  and  choirmaster  1898- 
1900;  teacher  1895,  asst.  prof,  after 
1903  of  harmony  at  Harvard,  made 
prof,  in  1907;  influential  in  raising 
standard  of  school  mus.;  author  of 
Tonal  Counterpoint  (with  Foote) 
and  Modern  Harmony. 

Spanuth,  August,  compr.,  critic,  editor. 
b.  Hanover,  March  15,  1857.  Began 
musical  education  at  an  early  age 
and  made  first  public  appearance  at 
seventeen;  studied  composition  with 
Raff  and  piano  with  Carl  Heymann; 
made  American  d^but  as  pianist  in 
1886;  teacher  in  Chicago  Musical 
College  1887-1893;  then  located  in 
New  York  City  as  private  teacher 
and  musical  critic  for  New  Yorker 
Stoats  Zeitung;  removed  to  Berlin 
1906;  teacher  in  the  Stern  Conser- 
vatory and  editor  of  Signale  fur  die 
musikalische  Welt;  published  works 
consist  of  piano  pieces,  songs,  studies; 
editor  of  the  Liszt  piano  volumes  in 
The  Musicians  Library. 

Spark,  William,  compr.  b.  Exeter, 
Eng.,  Oct.  28,  1823;  d.  Leeds,  June 
16,  1897.  Chorister  at  Exeter  Cath.; 
articled  pupil  of  S.  S.  Wesley;  orgt. 
at  Leeds,  founder  Leeds  Mus.  Soc.; 
Mus.  Doc.,  Dublin,  1861;  editor 
Organists'  Quarterly  Journal;  com- 
posed oratorio,  org.  mus.,  wrote 
Memoirs  of  Wesley  and  H.  Smart, 
Musical  Memories,  Musical  Remi- 
niscences; also  published  cantatas, 
anthems,  etc. 

Speidel  (spi'-del),  Wilhelm,  pst.  b. 
Ulm,  Sept.  3,  1826;  d.  Stuttgart, 
Oct.  13,  1899.  Pupil  of  father 
(teacher  and  chorus  director),  and 
at  Munich  with  Wanner,  Kuhe,  and 
I.  Lachner;  taught  at  Thann,  and 
Munich  1848-54;  mus.  dir.  Ulm; 
at  Stuttgart,  condr.  Liederkranz 
1857,  part  founder  of  Cons.,  teacher 
there,  except  1874-84  when  he  had 


his  own  Kunstler  und  Dilettanten- 
schule  fiir  Klavier;  composed  cho- 
ruses, symphony,  sonatas,  etc. 

Spicker,  Max,  condr.,  teacher.  b. 
Konigsberg,  Aug.  16,  1858.  Pupil  for 
five  years  of  L.  Kohler,  and  at 
Leipzig  Cons,  for  one  year  under 
Wenzel,  Richter,  etc.;  theatre  condr. 
at  Heidelberg,  Ghent,  etc.;  condr. 
Beethoven  Mannerchor,  New  York, 
1882-88;  dir.  Brooklyn  Cons.  1888- 
95;  later  teacher  of  harm,  and 
counterpoint  at  Nat'l  Cons.,  N.  Y.; 
composed  suite,  cantata,  and  many 
songs. 

Spiering  (sper'-ing),  Theodore  B.,  vlt. 
b.  St.  Louis,  Sept.  5,  1871.  Studied 
with  Schradieck  at  Cincinnati,  and 
four  years  with  Joachim  at  Berlin; 
founder  and  leader  S.  Quartet  of 
Chicago,  which  gave  admirable 
concerts  1893-1905;  with  Thomas 
Orch.  1892-96;  dir.  of  S.  Vln.  Sch., 
Chicago,  1899-1902,  of  Chicago  Mus. 
Coll.  1902-05;  gave  concerts  in 
Europe  1905-06;  located  in  Berlin 
1907-1909;  concertmaster  Philhar- 
monic Society,  N.  Y.,  1909-10. 

Spindler  (spind'-ler),  Fritz,  pst.,  compr. 
b.  Wiirzbach,  Nov.  24,  1817;  d. 
Niederlossnitz,  near  Dresden,  Dec. 

26,  1906.      Studied   theology   first; 
pupil  of  Fr.   Schneider;    successful 
teacher  in  Dresden  after  1841 ;  com- 
posed over  300  pieces  for  pf.  (Frisch- 
es   Leben  very  popular),  2    symph., 
pf.  concerto,  string  quartet,  etc. 

Spinney,  Walter,  orgt.,  compr.  b. 
Salisbury,  Mar.  26,  1852;  d.  Leam- 
ington, June  21,  1894.  Of  musical 
family,  father  and  brothers  orgts., 
sister  pst.;  articled  pupil  of  Richard- 
son at  Salisbury  Cath.;  orgt.  at 
parishes  of  Salisbury,  Doncaster, 
Leamington,  succeeding  brother 
Frank  S.  (1850-1888);  issued  col- 
lections The  organ  library  and  The 
vesper  bell,  which  contain  some  origi- 
nal works. 

Spitta,  Johann  August  Philipp,  his- 
torian, b.  Wechold,  Hanover,  Dec. 

27,  1841;    d.  Berlin,  Apr.  13,  1894. 
Student  of  philology  at  Gottingen; 
teacher    at    several    gymnasia;    co- 
founder  of  Bach  Verein  at  Leipzig; 
1875  prof.  mus.  hist.  Berlin  Univ., 
teacher  and  director  1882  in  Hoch- 
schule;     author  of    exhaustive   and 


SPOHR 

authoritative  life  of  J.  S.  Bach  (trans, 
in  3  vols.),  life  of  Schumann  origin- 
ally for  Grove's  Diet.,  2  collections  of 
essays;  contributions  to  periodicals, 
esp.  to  Vierteljahrsschrift  fur  Musik- 
wissenschaft,  which  he  founded,  with 
Chrysander  and  Adler;  edited  works 
of  Buxtehude,  began  those  of  Schiitz 
( finished  by  brother  Friedrich,  b. 
1852). 

Spohr  (sp6r),  Ludwig,  vlt.,  compr.  b. 
Brunswick,  Apr.  5,  1784;  d.  Kassel, 
Nov.  22,  1859.  His  father,  a  physi- 
cian, was  amateur  flute  player,  his 
mother,  a  singer  and  pst.,  was 
S's  first  teacher;  pupil  at  five  of 
Riemenschneider,  Dufour,  and  at 
Brunswick  of  Maucourt  and  Hart- 
ung;  member  of  ducal  orch.  and  at 
duke's  request  pupil  of  F.  Eck,  with 
whom  he  went  to  St.  Petersburg; 
1803  again  in  orch.;  1804  successful 
first  tour;  1805  leader  at  Gotha, 
married  Dorette  Scheidler,  harp- 
player;  on  tour  with  her  1807,  1809; 
condr.  1st  mus.  festival  in  Germany, 
Frankenhausen  1809;  condr.  in 
Vienna  1812-15;  after  tour  of 
Italy,  where  he  played  with  Paganini, 
opera  condr.  Frankfort  1817-19; 
1820  visited  England,  first  to  conduct 
there  with  baton;  court  condr.  at 
Kassel  1822  until  retirement  1857; 
conducted  at  several  festivals,  visited 
England  1839,  but  could  not  get 
leave  to  conduct  his  Fail  of  Babylon 
at  Norwich  1842;  besides  several 
works  for  pf.,  harp,  and  songs,  com- 
posed 11  operas  (Faust,  Jessonda 
much  the  best),  oratorios  (Das 
jiingste  Gericht,  etc.),  9  symphonies 
(some  with  titles,  Die  Jahreszeiten, 
Irdisches  u.  Gottliches  im  Menschen- 
leben);  several  overtures,  and  15 
vln.  concertos  (8th  a  Gesangsszene) , 
which  are  still  played;  wrote  also 
valuable  Violin  School  and  Auto- 
biography, full  of  self-content  and 
strange  criticisms;  as  condr.,  among 
first  to  appreciate  Wagner. 

Spontini  (spon-te'-nl),  Gasparo  Luigi 
Pacifico,  compr.  b.  Majolati,  An- 
cona,  Nov.  14,  1774;  d.  there,  Jan. 
24,  1851.  Son  of  peasants,  who 
intended  him  for  priesthood;  ran 
away  to  a  friendly  uncle;  pupil  of 
Sala  and  Tritto  at  Cons,  in  Naples; 
early  operas  won  advice  from  Pic- 
cini;  composed  at  Rome,  Venice, 


STAINER 

etc.;  in  Paris  after  1803  friendship 
with  poet  Jouy  and  admiration  for 
Mozart  changed  style;  La  Vestale, 
brought  out  at  Op£ra  through 
influence  of  Empress  Josephine  1807, 
won  prize  offered  by  Napoleon; 
married  daughter  of  Erard;  di- 
rector of  Italian  Opera  1810-12, 
dismissed  on  charge  .  of  "  financial 
irregularity,"  declined  offer  of  rein- 
statement 1814,  when  he  became 
court  compr.  to  Louis  XVIII;  as 
compr.  to  Friedrich  Wm.  II,  had 
great  success  at  Berlin;  difficulties 
there,  however,  led  to  retirement 
1841  as  narrow  escape  from  disgrace; 
operas  (especially  La  Vestale,  Fer- 
nand  Co'rtez,  Olympic)  are  planned 
with  fine  breadth,  but  details  do 
not  carry  'out  plan;  his  technical 
knowledge  of  harmony  and  instru- 
mentation was  defective  and  his 
melody  lacked  lightness  and  variety. 

Stadler,  Maximilian,  compr.,  writer,  b. 
Melk,  Lower  Austria,  Aug.  4,  1748; 
d.  Vienna,  Nov.  8,  1833.  Son  of 
baker,  educated  at  Jesuit  College, 
Vienna;  entered  Benedictine  Order 
1772;  priest,  abbot  at  Lilienfeld 
1786,  Kremsmunster  1798;  during 
residence  at  Vienna,  friend  of 
Haydn  and  Mozart;  compr.  of 
much  church  music;  ardent  de- 
fender of  authenticity  of  Mozart's 
Requiem  (Verteidigung  der  Echtheit 
.  .  .  1826). 

Stainer,  Jakob,  vln.-maker.  b.  Absam, 
Tyrol,  July  14,  1621;  d.  there,  1683. 
Possibly  pupil  of  Herz,  an  org. 
builder,  but  probably  pupil  of  some 
of  many  obscure  makers  of  his  dis- 
trict; went  to  Italy  1646,  where  he 
had  chance  to  examine  Italian 
models,  though  he  was  probably 
never  pupil  of  Amati;  vln.-maker 
to  court  of  Austria  1669;  accusa- 
tion of  heresy  destroyed  prospects; 
died  in  debt  and  insane;  greatest 
German  maker;  vlns.  are  heavy  in 
form  ("  clumsy  "  ace.  to  Hart),  later 
ones  somewhat  improved  in  design 
and  varnish;  all  have  moderately 
strong,  clear  tone. 

Stainer,  Sir  John,  compr.,  orgt.  b. 
London,  June  6,  1840;  d.  Verona, 
Mar.  31,  1901.  Chorister  at  St. 
Paul's;  pupil  of  Bayley,  Steggall, 
and  Cooper;  positions  as  orgt., 
Univ.  orgt.  Oxford  1860;  Mus.  Doc. 


STAMATY 


STASNY 


there  1865;  orgt.  St.  Paul's  1872- 
88;  prof,  of  mus.  at  Oxford  1889, 
of  org.  and  harmony  at  Nat'l 
Training  School;  principal  there 
1881,  prof,  after  School  became 
Royal  Coll.  1883;  gov't  inspector 
1882;  knighted  1888,  and  other 
distinctions;  composed  oratorios  Gid- 
eon, Crucifixion  (most  popular), 
cantatas  (Daughter  of  Jairus,  etc.), 
many  services,  etc.  (Sevenfold  Amen 
is  well  known),  all  marked  by  dignity 
and  feeling  which  he  showed  as  orgt.; 
wrote  manuals  Harmony,  Organ, 
Music  of  the  Bible  and  Dufay  and 
His  Contemporaries. 

Stamaty  (sta-ma-te),  Camille  Marie, 
pst.  b.  Rome,  Mar.  23,  1811;  d. 
Paris,  Apr.  19,  1870.  At  first  em- 
ployed at  gov't  office;  pupil  of 
Kalkbrenner;  at  first  concert,  1835, 
appeared  as  pst.  and  compr.;  after 
further  study  with  Mendelssohn 
returned  to  Paris,  where  he  was  suc- 
cessful as  teacher;  Gottschalk,  Saint- 
Saens  among  pupils;  wrote  valuable 
Rhythme  des  doigts,  and  many  Etudes, 
sonatas,  and  a  pf.  concerto;  "  at  a 
time  when  others  were  seeking  easy 
successes,  he  was  distinguished  for 
purity  of  style  and  elevation  of 
thought."  [Rapin.] 

Stamitz  (sta'-mitz),  Carl,  vlt.  b.  Mann- 
heim, May  7,  1746;  d.  Jena,  1801 
(buried  Nov.  11).  Son  of  Johann 
Wenzl  Anton  S.,  vlt.  (1717-1761); 
pupil  of  father  and  of  Cannabich; 
member  Electoral  Orch.;  leader  orch. 
of  Due  de  Noailles  in  Paris  1770-85; 
after  tours  in  Germany  and  resi- 
dence in  St.  Petersburg,  condr. 
academical  concerts  at  Jena  after 
1800;  composed  operas  Der  verliebte 
Vormund  and  Dardanus,  70  sym- 
phonies, duets  for  vln.,  'cello,  etc.; 
one  of  very  first  to  cultivate  symph. 
as  form;  disputes  priority  with 
Haydn. 

Stanford,  Sir  Charles  Villiers,  compr., 
condr.  b.  Dublin,  Sept.  30,  1852. 
Of  musical  family;  pupil  of  Sir 
Robt.  Stewart,  A.  O'Leary,  E. 
Pauer;  student  at  Cambridge;  orgt. 
Trinity  Coll.  1873-92,  condr.  C. 
Univ.  Mus.  Soc.  1874-93;  after 
study  with  Reinecke  and  Kiel,  took 
M.A.,  Camb.,  1877;  Mus.  Doc.  at 
both  univ. ;  prof,  of  comp.  and 
condr.  at  Royal  Coll.  Mus.  after 


1883;  prof.  mus.  at  Cambridge 
since  1887;  condr.  Bach  Choir  1885, 
Leeds  Philharmonic  Soc.  1897;  com- 
posed several  operas  (Canterbury 
Pilgrims,  Shamus  O'Brien),  remark- 
able choral  works  (The  Revenge, 
Phaudrig  Crohoore,  etc.),  5  sym- 
phonies, notably  an  Irish  one,  music 
to  Tennyson's  Queen  Mary,  and 
smaller  instrumental  works;  edited 
coll.  of  Irish  airs;  especially  skilful 
in  use  of  orchestral  colors. 

Stanley,  Albert  Augustus,  orgt.,  teacher. 
b.  Manville,  R.  I.,  May  25,  1851. 
After  study  in  Providence,  pupil  of 
Reinecke,  Richter,  etc.,  in  Leipzig 
at  Cons,  and  privately;  orgt.  Provi- 
dence 1876-88;  prof.  mus.  Univ.  of 
Michigan  since  1888;  composed 
symph.  The  Soul 's  awakening,  symph. 
poem  Attis,  ode  for  Providence  cen- 
tennial, songs,  church  music,  etc. 

Stark,  Ludwig,  teacher,  b.  Munich, 
June  19,  1831;  d.  Stuttgart.  Mar.  22, 
1884.  Studied  philosophy  at  Univ., 
mus.  with  I.  and  F.  Lachner;  co- 
founder  Stuttgart  Cons.  1857,  where 
he  taught  harmony,  history,  and 
singing  until  1873;  condr.  S.  Sing- 
verein;  edited  with  Lebert  Grosse 
Klavierschule,  with  Faisst  Lieder- 
schule,  and  other  valuable  instruc- 
tive works. 

Stasny  (staz'-ne),  Ludwig,  compr., 
arranger,  b.  Prague,  Feb.  26,  1823; 
d.  Frankfort-on-Main,  Oct.  30,  1883. 
Pupil  Prague  Cons.;  military  condr. 
1846-68;  condr.  Frankfort  Palmen- 
garten  after  1871;  produced  2  operas; 
made  orch.  arrangements  of  Wagner 
operas,  etc.;  composed  dances  based 
on  or  imitated  from  folk-tunes.  His 
son, 

Stasny  (staz'-ne),  Carl  Richard,  pst., 
teacher,  b.  Mayence,  Mar.  16,  1855. 
Early  showed  aptitude  for  music,  and 
at  8  began  lessons  in  pf.  playing; 
entered  a  course  in  civil  engineering 
which  he  gave  up  at  17;  on  the 
advice  of  Raff  the  father  sent  young 
Stasny  to  Vienna  to  study  with 
Ignaz  Briill;  two  years  later  he  went 
to  Kriiger  at  Stuttgart,  and  in  1879 
to  Weimar  with  Liszt,  where  he 
remained  for  two  years;  in  1878 
he  began  a  series  of  concert  tours 
which  lasted  until  1885,  and  took 
him  to  all  the  important  cities  of 


STAUDIGL 


STENHAMMER 


Europe;  teacher  at  the  Hoch  Cons., 
Frankfort,  1885-1891,  where  he  made 
a  special  study  of  Schumann's  works 
with  Clara  Schumann;  in  1891  he 
came  to  the  N.  E.  Cons.,  Boston, 
and  is  still,  1910,  connected  with 
that  institution. 

Staudigl  (stou'-digl),  Joseph,  dram, 
bass.  b.  Wollersdorf,  Lower  Austria, 
Apr.  14,  1807;  d.  Michaelbeuern- 

§rund,  near  Vienna,  Mar.  28,  1861. 
tudent  of  medicine;  member  of 
opera  chorus  at  Vienna,  then  chief 
bass;  court  singer  1831;  distinguished 
in  concert  hall  as  well  as  on  stage; 
insane  after  1856.  Son  Joseph,  bari- 
tone, b.  Vienna,  Mar.  18,  1850. 
Pupil  of  Rokitansky  at  Vienna 
Cons.;  singer  at  Carlsruhe. 

Stavenhagen  (sta'-ven-ha-gen),  Bern- 
hard,  pst.  b.  Greiz,  Reuss,  Nov.  25, 
1862.  Pupil  at  Berlin  Meister- 
schule  of  Kiel,  at  the  Hochschule  of 
Rudorff,  of  Liszt  1885-86;  Mendels- 
sohn Prize,  Berlin,  1880;  after 
brilliant  tours  in  Europe  and  U.  S. 
1894-95,  court  condr.  at  Weimar 
1895-98,  at  Munich  1898;  director 
Royal  Academy  1901-04;  now  in 
Weimar;  distinguished  player,  espe- 
cially of  Liszt's  works;  compr., 
also,  of  pf.  pieces,  Norse  songs,  pf. 
concerto,  etc. 

Stcherbatcheff  (stcher'-bat-chof),  Nico- 
las de,  compr.  b.  Russia,  Aug.  24, 
1853.  After  spending  some  time 
in  Rome  and  elsewhere  (pupil  of 
Liszt  at  Weimar)  became  closely 
connected  with  young  Russian 
school;  composed  2  Idyls  and  Sere- 
nade for  orch.,  several  charming  pf. 
pieces  (Feeries  et  pantomimes),  and 
songs  to  Russian  and  German  words. 

Steane,  Bruce  Harry  Dennis,  orgt., 
compr.  b.  Camberwell,  London, 
June  22,  1866.  Chorister  at  8, 
asst.  orgt.  at  12;  held  various  posi- 
tions as  orgt.  and  choirmaster;  very 
numerous  services,  anthems,  and 
org.  pieces,  and  sacred  cantata 
Ascension. 

Steggall,  Charles,  orgt.  b.  London, 
June  3,  1826;  d.  there,  June  7,  1905. 
Studied  at  Royal  Acad.  with  Ben- 
nett; prof,  there  of  org.  and  harmony 
1851-1903;  Mus.  Doc.  Camb.;  orgt. 
Lincoln's  Inn  Chapel  after  1864; 
composed  services,  edited  psalter, 


Hymns,  Ancient  and  Modern.  Son 
Reginald,  compr.  b.  London,  Apr. 
17,  1867.  Pupil  at  Royal  Acad. 
and  org.  professor  there  since  1895; 
compositions  (mass,  symph.,  2  scenas 
Elaine  and  Alcestis)  show  him  to 
belong  to  advanced  modern  school. 

Steibelt  (stl-belt),  Daniel,  pst.  b.  Ber- 
lin, 1765;  d.  St.  Petersburg,  Sept.  20, 
1823.  Studied  with  Kirnberger; 
published  sonatas  and  gave  concerts 
in  Saxony,  etc.,  before  coming  to 
Paris  1790;  superseding  J.  D.  Her- 
mann and  Pleyel  became  favorite 
pst.  and  teacher;  opera  Romeo  et 
Juliette  successful  1793;  leaving  Paris 
for  debts,  etc.,  1797,  won  renown  in 
London;  German  tour  1799  included 
disastrous  challenge  to  Beethoven; 
brought  out  Haydn's  Creation,  Paris, 
1800,  and  revisited  city  1805-08; 
after  further  tours,  condr.  of  opera 
in  St.  Petersburg  1810;  his  pf.  music 
is  of  melodramatic  style  (L'Orage, 
finale  of  3d  concerto,  was  played 
widely) ;  also  composed  operas. 

Steinbach  (stln-bak),  Fritz,  condr.  b. 
Grunsfeld,  Baden,  June  17,  1855. 
Pupil  of  brother  Emil  (b.  1849) 
ana  at  Leipzig  Cons,  where  he  won 
Mozart  Scholarship;  2d  capellmeis- 
ter,  Mayence,  1880-86;  court  condr. 
Meiningen  1886-1902;  condr.  and 
dir.  of  cons,  at  Cologne  1902;  compr. 
of  septet,  'cello  sonata,  and  other 
works. 

Steingraber  (stin'-grab-er),  Theodor, 
publisher,  b.  Neustadt-on-Orla,  Jan. 
25,  1830;  d.  Leipzig,  Apr.  5,  1904. 
Founder  of  firm  in  Hanover,  in 
Leipzig  since  1890;  under  pseud. 
Gustav  Damm,  wrote  pf.  method, 
and  editions  of  pf.  works. 

Stengel,  Mme.  W.,  see  Sembrich, 
MarceHa. 

Stenhammer,  Wilhelm,  compr.  b. 
Stockholm,  Feb.  7,  1871.  Son  of 
Ulrik,  song  compr.;  pupil  at  Stock- 
holm Cons.,  and  of  H.  Barth  in 
Berlin;  director  Philharmonic  Soc. 
1898,  condr.  Royal  Th.  1900  in 
Stockholm;  member  Aulin  Quartet; 
after  some  smaller  works,  gained 
distinction  by  Prinzessan  och  Sven- 
nen,  festival  cantata,  etc.;  2  operas 
1898,  1903  have  been  successful; 
also  composed  choral  works,  sonata, 
songs,  etc. 


STERLING 


STEWART 


Sterling,  Antoinette,  contralto,  b.  Ster- 
lingsville,  N.  Y.,  Jan.  23,  1850;  d. 
Hampstead,  London,  Jan.  9,  1904. 
Studied  with  Abella,  Mme.  Mar- 
chesi,  Viardot-Garcia,  and  Manuel 
Garcia;  church  singer  in  Brooklyn; 
after  concert  d£but,  London,  1873, 
had  great  success  in  oratorio  and 
concerts;  married  J.  Mackinlay 
1875;  gave  series  of  concerts  in 
America  1875;  "  essentially  a  ballad 
singer  ";  Lost  Chord  and  other  songs 
written  for  her;  son  published  A.  S. 
and  Other  Celebrities  1906. 

Stern,  Leopold  Laurence,  'cellist,  b. 
Brighton,  Eng.,  Apr.  5,  1862;  d. 
London,  Sept.  10,  1904.  Student  of 
chemistry;  studied  music  with 
Piatti,  and  at  Leipzig  with  Klengel 
and  Davidoff;  tour  1886  with  Patti; 
brought  out  Dvorak's  concerto  1895; 
toured  U.  S.  and  Canada  1897-98; 
after  that  appeared  but  rarely; 
married  Nettie  Carpenter,  vlt.,  1891, 
and  Suzanne  Adams,  singer,  1898. 

Sternberg,  Constantin  Ivanovitch  von, 
pst.,  compr.  b.  St.  Petersburg,  July 
9,  1852.  Studied  with  Moscheles, 
Coccius,  Richter,  etc.  at  Leipzig 
Cons.,  with  Kullak,  Dorn,  etc.  at 
Berlin  Akademie,  and  with  Liszt  in 
vacations;  condr.  and  chorusmas- 
ter  Leipzig  1867-69;  condr.  Wiirz- 
burg,  Mecklenburg  (where  he  was 
dir.  of  Acad.  and  court  pst.);  after 
tours  in  Germany,  Russia,  Asia 
Minor,  U.  S.,  1880-85,  became  direc- 
tor of  Atlanta  Coll.  of  Mus.  1885-89; 
director  of  S.  Sch.  of  Mus.  in  PhUa. 
since  1890;  compositions  for  pf.  show 
skill  and  knowledge  of  the  genius  of 
the  instrument. 

Stevens,  Richard  John  Samuel,  compr. 
b.  London,  Mar.  27,  1757;  d.  there, 
Sept.  23,  1837.  Chorister  at  St. 
Paul's  under  William  Savage;  orgt. 
at  Temple  Church  1786  and  Charter 
House  1796;  prof,  in  Gresham  Col- 
lege 1801;  composed  harpsichord 
sonatas,  edited  Sacred  Music  but  is 
chiefly  noted  as  compr.  of  remark- 
able glees;  prizes  from  Catch  Club 
1782  and  '86;  among  favorites  are 
Ye  Spotted  Snakes,  Blow,  blow,  thou 
winter  wind,  and  Sigh  no  more. 

Stevenson,  Frederick,  orgt.,  compr.  b. 
Newark,  Nottinghamshire,  Eng., 
Sept.  16,  1845.  Father  and  mother 


musical,  the  latter  a  fine  singer;  sang 
in  parish  choir  as  a  boy,  studied  org. 
with  Thirtle  and  Reay;  attended  St. 
John's  Coll.,  Hurstpierpoint,  sang 
in  choir;  1867-1883  orgt.  in  London 
and  suburbs;  studied  harmony  with 
Macfarren,  counterpoint  with  Bridge; 
conductor  of  three  choral  societies, 
prof,  of  voice  and  theory  Blackheath 
Cons.;  1883  came  to  U.  S.  as  pre- 
centor of  St.  John's  Cath.,  Denver; 
later  orgt.  and  choirmaster  St. 
Mark's  Ch.,  dir.  of  Denver  Cons.; 
1894  removed  to  Los  Angeles,  Cal., 
where  he  is  orgt.  and  choirmaster 
of  St.  John's,  Christ  Church  and 
Jewish  Temple,  dir.  of  choral  clubs; 
has  written  in  many  forms,  sacred 
and  secular  choral  works,  part-songs, 
anthems,  songs,  and  a  few  pieces  for 
orchestra  and  military  band. 

Stewart,  Humphrey  John,  compr.,  orgt. 
b.  London,  Eng.,  May  22,  1856. 
Boy  chorister,  and  church  organist 
at  the  age  of  11;  education  carried 
on  under  private  teachers,  during 
which  time  he  served  as  organist  of 
several  English  churches;  came  to 
the  United  States  in  1886,  locating 
at  San  Francisco,  where  he  was  or- 
ganist of  several  churches;  for  sev- 
eral years  organist  of  Trinity  Church, 
Boston,  from  which  city  he  returned 
to  San  Francisco,  where  he  now 
(1910)  resides;  organist  of  St.  Domi- 
nic's church,  and  of  two  Jewish 
synagogues,  condr.  Handel  and 
Haydn  Society.  Compositions  in- 
clude three  comic  operas,  Bluff  King 
Hal  (1889),  His  Majesty  (1890)  and 
The  Conspirators  (1900);  The  Na- 
tivity, oratorio  (1888);  Mass  in  D 
minor  (1907);  music  drama  Monte- 
zuma  (1903)  produced  as  a  forest 
play  by  the  Bohemian  Club  of  San 
Francisco;  orchestral  suite,  Scenes 
in  California  (1906);  incidental 
music  to  many  plays,  songs,  piano 
and  violin  pieces,  part-songs  and 
church  music;  won  the  gold  medal 
for  composition  A.  G.  O.,  1900, 
Kimball  Prize  of  the  Chicago  Mad- 
rigal Club  (1907);  Mus.  Doc.  Uni- 
versity of  the  Pacific;  music  critic 
San  Francisco  Examiner  and  Even- 
ing Post. 

Stewart,  Sir  Robert  Prescott,  orgt.  b. 
Dublin,  Dec.  16,  1825;  d.  there,  Mar. 
24,  1894.  Chorister  and  orgt.  at 


STIEHL 


STRADIVARI 


Dublin;  condr.  Univ.  Choral  Soc.; 
Mus.  Doc.  Dublin  1851;  prof. 
Dublin  Univ.  1861,  at  Royal  Irish 
Acad.  1872,  condr.  of  Philharmonic 
1873;  knighted  1872;  composed 
several  important  odes,  cantatas, 
and  many  deservedly  popular  glees; 
lectures  and  writings  are  of  value. 

Stiehl  (stel),  Heinrich  Franz  Daniel, 
orgt.  b.  Liibeck,  Aug.  5,  1829;  d. 
Reval,  May  1,  1886.  Studied  with 
Lobe,  and  at  Leipzig  Cons,  with 
Moscheles,  Gade,  and  Hauptmann; 
orgt.  and  condr.  Singakademie  at  St. 
Petersburg  1853-66;  tours  in  Ger- 
many, Italy,  and  England,  condr. 
at  Belfast;  after  1880  orgt.  and  condr. 
at  Reval;  many  compositions  for 
orch.,  chamber  music  and  2  operas. 

Stock,  Frederick,  condr.  b.  Nov.  11, 
1872,  at  Jiilich,  Germany.  Father, 
a  bandmaster  in  the  German  army, 
was  his  first  teacher;  entered  Cologne 
Conservatory  in  1886,  graduating  as 
violinist ;  while  a  member  of  the  Mu- 
nicipal Orchestra  studied  composi- 
tion under  Humperdinck,  Zollner  and 
Franz  Wiillner;  came  to  the  U.  S. 
in  1895,  joined  the  Chicago  Orches- 
tra, becoming  assistant  conductor 
to  Theodore  Thomas  in  1899;  from 
1903-1905  he  conducted  all  of  the 
orchestra  concerts  outside  of  Chicago 
and  on  Thomas'  death  succeeded  to 
the  conductorship;  compositions  in 
the  large  forms  include  overtures, 
a  symphonic  poem,  symphonic  varia- 
tions on  an  original  theme,  played 
in  Chicago,  Pittsburg,  and  at  the  Wor- 
cester Festival  in  1906,  a  symphony 
in  C  minor,  produced  at  Chicago, 
Dec.  31,  1909,  and  afterward  at  the 
Cincinnati  Festival  1910;  Stock  is 
also  conductor  of  the  Musical  Art 
Club  (vocal),  of  Chicago. 

Stockhausen  (stock'-hou-zen) ,  Julius, 
baritone,  teacher,  b.  Paris,  July  22, 
1826;  d.  Frankfort-on-Main,  Sept. 
22,  1906.  Son  of  Franz,  compr.  and 
harpist  (1792-1868),  and  concert 
singer  Margarete  Schmuck  (1803- 
1877);  studied  at  Paris  Cons,  and 
with  Manuel  Garcia;  favorite  con- 
cert singer;  condr.  Philharmonic 
and  Singakademie  at  Hamburg 
1862-67;  condr.  Stern  Gesangverein 
at  Berlin  1874-78;  teacher  of  singing 
at  Hoch  Cons.,  Frankfort,  1878-79, 
and  1882-98;  then  gave  private 


lessons;  published  method;  beauty 
of  voice  and  care  for  interpretation 
made  him  wonderful  singer  of  Schu- 
bert's and  Schumann's  works. 

Stojowski  (sto-yofs'-ki),  Sigismund 
Denis  Antoine,  pst.  b.  Strelzy, 
Poland,  May  14,  1870  [Riemann. 
Paris  Cons,  documents  Apr.  8]. 
Studied  at  Cracow  with  Zelenski 
and  at  Paris  Cons,  with  Dimmer  and 
Delibes;  1st  prizes  pf.  and  comp. 
1889;  later  pupil  of  Paderewski; 
teacher  at  Inst.  of  Mus.  Art,  N.  Y., 
from  1906;  has  composed  orchestra 
suite,  symph.,  pf.  concerto,  studies, 
and  sonatas  for  pf.  and  vln. 

Storace,  Stephen,  compr.  b.  London, 
Jan.  4,  1763;  d.  there,  Mar.  19,  1796. 
Studied  vln.  with  father  and  at  Cons, 
of  San  Onofrio,  Naples;  traveled 
with  sister  Ann  Selina,  singer  (1766- 
1817),  in  Italy,  lived  in  Vienna,  where 
he  knew  Mozart;  produced  2  operas 
in  Vienna,  and,  after  1787,  many  in 
London  (The  Haunted  Tower,  No 
Song,  no  Supper,  etc.);  often  intro- 
duced work  of  other  comprs.  into 
operas;  pleasant  melodies,  with  orch. 
accomp. ;  much  influenced  by  Mozart. 

Story,  Emma  Eames,  see  Eames,  Emma. 

Stradella  (stra-del'-la),  Alessandro, 
compr.  b.  Naples,  1645;  d.  Genoa, 
June,  between  6  and  16,  1681. 
Dates,  places,  and  details  of  biog- 
raphy are  all  obscure;  unauthenti- 
cated  story  that  he  eloped  with  a 
Venetian  lady  whose  lover  hired 
a  man  to  murder  S.;  the  assassin, 
fascinated  by  S's  music,  advised 
him  to  flee;  a  second  murderer  fol- 
lowed him  to  Genoa  and  there  killed 
him;  subject  of  Flotow's  opera 
Stradella;  said  to  have  been  fine 
singer  and  harpist;  composed  about 
150  works,  operas,  oratorios  (San 
Giovanni  Battista  best  known),  can- 
tatas, madrigals,  etc.,  fluent,  but 
not  deep;  his  Serenata  contains  sub- 
jects which  Handel  used  in  Israel 
in  Egypt;  familiar  Pieta  Signore, 
attributed  to  S.,  probably  by  Rossini. 

Stradivari  (stra-di-va'-ri),  or  Stradi- 
varius,  Antonio,  vln.-maker.  b.  Cre- 
mona, 1644;  d.  there,  Dec.  18,  1736. 
Pupil  of  Amati;  began  to  sign  vlns. 
with  own  name  1666;  early  instr.  on 
Amati  model,  of  rather  poor  mate- 
rials; from  1684-1700  carried  on 


STRAKOSCH 

series  of  experimental  alterations 
in  shape  and  in  cuttings;  "  Long 
Strad  "  first  made  1690;  final  period 
after  1703,  attained  highest  point 
ever  reached  in  vln.-making,  care- 
fully looking  after  smallest  details 
himself,  and  making  slight  variations 
apparently  to  meet  variations  in 
material;  "his  varnish  also  varies  in 
color  and  defies  analysis,  the  secret 
of  it  having  been  long  sought  in 
vain;  many  instruments  are  named 
Messie,  Dolphin,  Pucelle,  etc.;  S. 
also  made  'cellos  and  violas;  author- 
itative life  is  that  by  W.  H.,  A.  F., 
and  A.  E.  Hill  (London,  1902). 

Strakosch  (stra-kosh'),  Maurice,  im- 
presario, b.  Lemberg,  1825;  d. 
Paris,  Oct.  9,  1887.  Pf.  pupil  of 
Sechter  in  Vienna;  taught  in  N.  Y. 
1845-60;  after  1856  managed  opera 
troupe;  organized  opera  season  at 
Paris  1873-74;  European  agent  for 
Patti  (who  was  his  sister-in-law)  and 
for  other  singers;  managed  theatre 
Rome  1884-85;  published  Souvenirs 
d'un  impresario  1887.  Brother  Max 
(d.  1892)  managed  in  America  while 
Maurice  was  in  Eng.;  joined  him  in 
Rome. 

Strauss  (strous),  Johann,  I,  compr.  b. 
Vienna,  Mar.  14,  1804;  d.  there, 
Sept.  25,  1849.  Son  of  keeper  of 
beer  garden  and  dance  hall;  having 
run  away  from  apprenticeship  to 
bookbinder,  became  pupil  of  Poly- 
schansky  and  Seyfried;  member  of 
dance  hall  orch.,  of  Lanner  Quartet 
1823;  deputy  condr.  of  L's  orch.; 
organized  own  orch.  1826,  compos- 
ing first  waltzes  at  this  time;  after 
concert  tours,  bandmaster  1st  Vienna 
Militia  reg't  1834;  further  tours  took 
him  as  far  as  Paris  and  London 
1837-38;  condr.  court  balls  in  Vienna 
1845;  "  father  of  the  waltz,"  com- 
posed over  150  waltzes,  quadrilles  and 
marches,  in  which  by  fire  and  spirit 
and  by  skilful  orchestration  he  raised 
dance  mus.  to  high  level.  His  son, 

Strauss,  Johann,  II,  compr.  b.  Vienna, 
Oct.  25,  1825;  d.  there,  June  3,  1899. 
Against  wishes  and  without  knowl- 
edge of  father  pupil  of  Drechsler; 
as  condr.  of  restaurant  orch.  at 
Hietzing  won  great  success;  after 
father's  death  made  tours  with 
united  orchestras;  condr.  St.  Peters- 
burg 1855-63,  of  Vienna  court  balls 


STRAUSS 

1863-70;  after  1870  composed  sev- 
eral charming  operettas  Die  Fleder- 
maus,  Zigeunerbaron;  called  "  The 
Waltz  King";  composed  Blue  Dan- 
ube, Wine,  Woman,  and  Song,  etc.; 
music  has  never  been  surpassed  in 
its  kind  for  popularity  or  for  merit. 
His  brothers,  Joseph  (1827-1870), 
deputy  condr.  for  Johann  1853;  later 
condr.  of  own  orch.;  also  successful 
compr.  of  dance  music;  Eduard  (b. 
1835)  followed  Johann,  as  court  ball 
condr.  1870;  also  compr. 

Strauss,  Richard,  compr.  b.  Munich, 
June  11,  1864.  No  relation  to 
Viennese  dance  compr.;  son  of 
Franz,  horn  player  in  court  orches- 
tra; pupil  in  comp.  of  F.  W.  Meyer 
while  still  at  gymnasium;  preco- 
cious as  compr.;  condr.  at  Meiningen 
succeeding  Von  Billow  1885;  after 
travel  in  Italy,  3d  capellmeister 
Munich  1885-89;  asst.  to  Lassen, 
court  capellm.  at  Weimar  1889-92; 
journey  to  Greece  and  Egypt  to 
recover  from  illness  1892;  married 
singer  Pauline  de  Anna  1894;  court 
capellm.  Munich  1894,  and  at  Berlin 
1899;  visited  London  1897  and  as 
condr.  1903;  came  to  America  1904, 
gave  concerts  with  Philadelphia 
Orch.,  with  Wetzler  Orch.  in  N.  Y., 
and  conducted  other  orchestras.  His 
works  include  a  few  pf.  pieces, 
sonata  for  vln.  and  pf.,  'cello  and 
pf.,  concerto  for  vln.,  quartet,  etc., 
many  very  beautiful  songs  and  some 
larger  choral  works  (Wanderers  Sturm- 
lied,  Taillefer,  etc.),  2  symph.,  8 
symph.  poems,  A  us  Italien  1886,  Don 
Juan  1889,  Macbeth  1891,  Tod  und 
Verklarung  1890,  Till  Eulenspiegels 
lustige  Streiche  1895,  Also  Sprach 
Zarathustra  1895,  Don  Quixote  1898, 
Ein  Heldenleben  1899;  Burleske  for 
pf.  and  orch.;  Sinfonia  Domestica; 
incidental  mus.  for  pf.  to  Enoch 
Arden;  4  operas  Guntram  1894, 
Feuersnot  1901,  Salome  1905,  Elektra 
1909.  Early  works  follow  closely 
classical  forms  and  traditions,  not 
without  some  individuality.  Later, 
somewhat  under  influence  of  Alex- 
ander Ritter  (more  in  directions  of 
general  culture  than  in  music)  he 
turned  to  freer  modern  forms,  with 
Aus  Italien;  he  has  carried  on  the 
Berlioz-Liszt  idea  of  poetic  or 
program  music  to  a  greater  degree 


STREABBOG 

of  realistic  effect,  at  times,  as  in 
Don  Quixote,  even  to  the  grotesque; 
he  endeavors  to  express  not  only 
moods  and  emotions,  but  psycho- 
logical states  of  mind  and  systems  of 
abstract  thought.  Not  an  inventor 
of  especially  beautiful  or  long  sus- 
tained melodies,  he  is  a  complete 
master  of  the  resources  of  the  modern 
orchestra,  which  he  has  extended 
by  some  new  devices  and  the  adop- 
tion of  some  new  instruments 
(heckelphone,  etc.).  Though  he  is 
capable  of  producing  passages  of 
great  beauty,  e.  g.  songs,  Tod  und 
Verk.,  his  unusual  skill  seems  at 
times  to  have  led  him  into  mere 
piling  up  of  effects,  just  as  his 
extraordinary  audacity,  his  ambi- 
tion to  present  the  whole  of  life,  his 
sense  of  contrast,  have  led  him  to 
over  insistence  on  the  merely  ugly, 
as  in  the  Heldenleben  and  Elektra 
and  the  merely  trivial,  as  in  the 
Sinf.  Domestica. 

Streabbog,  see  Gobbaerts. 

Strelezki  (stre-let-ski),  Anton  [pseud,  of 
A.  B.  Burnand],  compr.  b.  Croydon, 
Dec.  5,  1859.  Studied  at  Leipzig 
Cons,  and  with  Clara  Schumann; 
compr.  of  some  very  popular  pf .  music. 

Strong,  George  Templeton,  compr.  b. 
New  York,  about  1855.  Son  of 
Geo.  T.,  once  pres.  of  N.  Y.  Phil- 
harmonic; pupil  at  Leipzig  Cons.; 
teacher  at  N.  E.  Cons.  1891-92; 
obliged  to  resign  because  of  ill- 
health;  living  in  Switzerland;  compr. 
of  2  symph.  (No.  2  Sintram,  several 
times  performed,  shows  brilliant 
instrumentation) ,  symph.  poems, 
Haunted  Mill  for  chorus  and  orch., 
etc. 

Strube  (stroo'-be),  Gustav,  vlt.,  compr. 
b.  Ballenstedt,  Harz,  Mar.  3,  1867. 
Pupil  of  father,  member  of  local 
orch.;  studied  at  Leipzig  Cons,  with 
Hermann,  Brodsky,  Reinecke,  and 
Jadassohn ;  member  Gewandhaus 
Orch.;  prof.  Mannheim  Cons.;  mem- 
ber Boston  Symph.  Orch.  since  1891; 
condr.  summer  popular  concerts, 
asst.  condr.  Worcester  Co.  Mus. 
Ass'n;  has  comp.  suite  for  vln.  and 
pf.,  3  overtures,  2  symph.  poems, 
2  vln.  concertos,  2  symphonies,  etc. 
many  of  which  have  been  played 
by  Boston  Symph.  Orch. 


SULLIVAN 

Sucher  (sook'-er),  Rosa  [nee  Hassel- 
beck],  dram.  sop.  b.  Velburg,  Upper 
Palatinate,  Feb.  23,  1849;  d.  Apr.  5, 
1908;  d6but  at  Treves;  sang  at 
Konigsberg,  Berlin,  and  Danzig; 
engaged  for  Leipzig  Stadt  Th.  by 
Josef  Sucher  (1844-1908),  whom  she 
married  1877;  went  to  Hamburg 
with  husband  1879;  and  to  Berlin 
Opera  1888-1898  (Josef  retired  from 
post  at  Berlin  1899);  extraordinary 
range  of  repertoire,  but  notable  for 
Isolde,  Eva,  and  Kundry;  sang  at 
Bayreuth  1886  and  1888;  and  in  N.  Y. 
under  Damrosch  1894;  retired  1903. 

Sudds,  William  F.,  compr.,  writer,  b. 
London,  Mar.  5,  1843.  Parents 
moved  1850  to  Gouverneur,  New 
York  state;  self-taught  in  vln., 
'cello,  guitar,  and  cornet;  band- 
master in  Civil  War;  later  studied 
at  N.  E.  Cons,  with  Thayer  and 
Eichberg;  many  published  pf.  pcs. 
and  songs,  teacher  at  Gouverneur. 

Suk  (sook),  Josef,  compr.  b.  KfeSovic, 
Bohemia,  Jan.  4,  1874.  Studied 
with  father  and  at  Prague  Cons, 
with  Bennewitz  and  Dvorak,  who 
"  later  became  his  father-in-law;  2d 
vln.  in  Bohemian  Quartet  from 
1892,  with  Hoffmann,  Nedbal,  and 
Wihan;  compr.  overtures,  serenade, 
chamber  music,  suite  Ein  Mdrchen, 
and  2  symphonies. 

Sullivan,  Sir  Arthur  Seymour,  compr. 
b.  London,  May  13,  1842;  d.  there, 
Nov.  22,  1900.  Chorister  at  Chapel 
Royal  under  Helmore;  first  Mendels- 
sohn Scholar  at  Royal  Acad.  Mus., 
pupil  pf  Goss  and  Bennett;  studied 
at  Leipzig  with  Moscheles,  Haupt- 
mann,  etc.;  orgt.  in  London;  condr. 
Promenade  concerts  at  Covent  Gar- 
den 1878-79;  principal  Nat'l  Train- 
ing School  1876-81;  knighted  1883; 
composed  songs  (Lost  Chord,  The 
Long  Day  Closes),  oratorios  (Prodigal 
Son,  Golden  Legend),  incidental  music 
to  Tempest  and  Merchant  of  Venice, 
a  grana  opera,  Ivanhoe,  1891 ;  great 
popularity,  however,  rests  on  long 
series  of  comic  operas  produced 
chiefly  at  the  Savoy  Theatre,  many 
of  them  to  words  by  W.  S.  Gilbert, 
among  which  may  be  named  Trial 
by  Jury  1875,  H.  M.  S.  Pinafore 
which  had  unequaled  popularity 
in  England  and  U.  S.  (whither  S. 


SUPPE 


SZUMOWSKA 


came  1879),  Pirates  of  Penzance 
1880,  Patience  1881,  Mikado  1885; 
The  Emerald  Isle,  completed  by  E. 
German,  1901;  distinguishing  feat- 
ures of  these  operettas  are  unity  of 
spirit  between  compr.  and  libret- 
tist, unfailing  gaiety  and  variety  of 
rhythm  and  melody,  and  at  same 
time  refinement  of  educated  musical 
taste. 

Suppe  (soop-pa),  Franz  von  [real  name 
Francesco  Ezechiele  Ermenegildo 
Cavaliere  Suppe  Demelli],  compr.  b. 
Spalato,  Dalmatia,  Apr.  18,  1820; 
d.  Vienna,  May  22,  1895.  Played 
the  flute  and  composed  early;  while 
student  of  philosophy  at  Padua, 
studied  mus.  with  Cigala  and  Ferrari, 
later  at  Vienna  Cons,  with  Sechter 
and  Seyfried;  theatre  condr.  at 
Pressburg,  Baden,  and  Vienna  1865- 
95;  produced  great  number  of  operet- 
tas and  musical  farces  and  burlesques ; 
chiefly  known  out  of  Germany  by 
Fatinitza  1876,  Boccaccio  1879,  and 
overture  to  Poet  and  Peasant. 

Surette,  Thomas  Whitney,  lecturer, 
b.  Concord,  Mass.,  Sept.  7,  1862. 
Studied  with  A.  Foote  and  J.  K. 
Paine  (grad.  Harvard  1891);  orgt. 
at  Concord,  musicmaster  at  Hill 
School,  Pottstown,  Pa.,  orgt.  choir- 
master at  Baltimore;  since  1896 
lecturer  on  mus.  for  Amer.  Univer- 
sity Extension  Soc.;  lectured  at 
Univ.  of  Oxford,  Eng.  1899,  1905, 
regularly  appointed  there  1907; 
author  of  valuable  syllabi  on  various 
periods  of  mus.  hist.;  operetta  Pris- 
cilla;  or,  the  Pilgrim's  Proxy  1889, 
very  popular. 

Siissmayer  (siis'-ma-er),  Franz  Xaver, 
compr.  b.  Schwanenstadt,  Upper 
Austria,  1766;  d.  Vienna,  Sept.  17, 
1803.  Pupil  of  Salieri,  pupil  and 
friend  of  Mozart;  capellmeister 
Nat'l  Th.,  Vienna,  1792,  court  opera 
1794;  compr.  of  several  operettas 
(Der  Wildfang,  etc.);  supplied  in- 
strumentation for  some  airs  in 
Mozart's  Titus. 

Svendsen  (svent'-sen),  Johan  Severin, 
vlt.,  compr.  b.  Christiania,  Sept.  30, 
1840.  Bandmaster  in  army,  wander- 
ing vlt.;  studied  at  Leipzig  Cons, 
with  David,  Hauptmann,  etc.;  toured 
Scandinavia  and  England;  member 
Paris  orchestras  1868-69;  concert- 
master  Leipzig  Euterpe  concerts 


1871;  visited  New  York  and  married 
an  American  1871;  condr.  Christiania 
concerts  1872-77,  1880-83;  court 
condr.  Copenhagen  1883;  condr. 
Royal  Theatre  there  since  1896; 
works  remarkable  for  individuality 
and  entire  lack  of  "  national  "  char- 
acteristics, include  songs,  chamber 
mus.,  concertos  for  vln.  and  'cello, 
two  symphonies,  Carnaval  a  Paris, 
Rhapsodies  norvegiennes,  etc. 

Sweelinck  (sva'-link),  Jan  Pieter, 
compr.  b.  Amsterdam,  1562;  d. 
there,  Oct.  16,  1621.  Pupil  of  Jacob 
Buyck,  and  of  his  father  Pieter  (d. 
1573),  orgt.;  successor  of  father  at 
church,  composed  psalms,  masses, 
sacred  and  secular  songs;  complete 
works  published  by  Amsterdam  Soc. 
for  Promotion  of  Mus.;  chief  work 
was  establishment  of  true  organ 
fugue  with  development  from  single 
subject;  said  to  have  been  first  to 
employ  pedal  in  fugal  part. 

Swert  (svart),  Jules  de,  'cellist,  b. 
Louvain,  Aug.  15,  1843;  d.  Ostende, 
Feb.  24,  1891.  Pupil  of  Servais  at 
Brussels  Cons.;  after  long  tours, 
concertmaster  Diisseldorf  1865;  1st 
'cellist  Weimar  1868;  royal  concert- 
master,  'cellist,  prof,  at  Hochschule, 
Berlin,  1869-73;  traveled,  lived  in 
Wiesbaden  and  Leipzig;  director 
Ostende  Mus.  Sch.  1888;  prof,  at 
Cons,  of  Ghent  and  Bruges;  com- 
posed operas,  symphony,  fantasias, 
etc.  for  'cello. 

Sydenham,  Edwin  Augustus,  orgt., 
compr.  b.  Somersetshire,  Oct.,  1847; 
d.  Scarborough,  Feb.  18,  1891. 
Chorister  at  Stratford-on-Avon;  pupil 
at  Leipzig  Cons.;  orgt.  at  several 
places,  finally  at  Scarborough; 
teacher,  compr.  of  anthems,  pf.  and 
vln.  pieces. 

Szarwady,  see  Clauss-Szarvady,  Wil- 
helmine. 

Szekely  (she'-ke-le),  Imre  Emeric, 
pst.  b.  Matyfalva,  Hungary,  May 
8,  1823;  d.  Pesth,  April,  1887. 
Studied  at  Pesth;  after  many  long 
concert  tours,  with  especial  success 
in  London,  settled  finally  in  Pesth 
after  1852;  taught,  composed  works 
for  orchestra  and  pf.  (concertos, 
e1  tudes,  etc.). 

Szumowska,  Antoinette,  see  Adamow- 
ski,  Mrs.  Joseph. 


TALLIS 


TARTDfl 


Tallis,  Thomas,  compr.,  orgt.  b.  be- 
tween 1520  and  1529;  d.  London, 
Nov.  23,  1585.  Orgt.  at  Waltham 
Abbey  until  1540;  gentleman  of 
Chapel  Royal  under  Henry  VIII, 
Edward  VI,  Mary,  and  Elizabeth; 
joint  orgt.  with  his  pupil  Byrd,  with 
whom  he  also  obtained  privilege  of 
printing  music  and  ruled  paper  1575; 
composed  services,  prayers,  responses, 
etc.,  and  song  in  40  parts  for  8  five- 
part  choirs. 

Tamagno  (ta-man'-yo),  Francesco, 
dram,  tenor,  b.  Turin,  1851;  d. 
Varese,  Aug.  31,  1905.  After  slight 
instruction  at  Cons,  sang  in  choruses, 
and  after  military  service  made 
d£but  at  Palermo  1873;  selected  by 
Verdi  to  create  Otetto  at  Milan  1887; 
thereafter  of  universal  fame,  sang 
successfully  at  European  capitals 
and  in  U.  S.  1890,  1893;  especially 
remarkable  for  power  of  voice  and 
physique. 

Tamberlik  (tam'-ber-lik),  Enrico,  dram, 
tenor,  b.  Rome,  Mar.  16,  1820;  d. 
Paris,  Mar.  15,  1889.  Left  study  of 
law  to  study  singing  at  Bologna 
with  Guglielmi  and  Borgna;  debut 
Naples  1840;  sang  in  Spain,  London 
1850-64,  winters  at  St.  Petersburg, 
Paris,  Spain,  and  America;  settled 
in  Madrid  after  1877  as  manufac- 
turer of  arms. 

Tamburini  (tam-boo-re'-nl),  Antonio, 
dram.  bass.  b.  Faenza,  Mar.  28, 
1800;  d.  Nice,  Nov.  9,  1876.  Pupil 
of  father,  Boni,  and  Asioli;  d6but 
Cento  1818;  sang  in  Italy  for  im- 
presario Barbaja  at  Naples  and 
Milan  1824-32;  at  Th.  Italien,  Paris, 
1832-41,  with  Grisi,  Rubini,  La- 
blache,  etc.;  alternate  seasons  in 
London;  10  years  in  Russia;  retired 
1859. 

Taneiev  (tan-e'-yef),  Sergei  Ivanovitch, 
pst.,  compr.  b.  Russia,  Nov.  25, 
1856.  Pupil  at  Moscow  Cons,  of 
N.  Rubinstein,  Hubert,  and  Tchai- 
kovski;  tour  with  Auer  1876;  after 
two  years  in  Paris,  prof,  of  harmony 
and  instrumentation  Moscow  Cons. 
1878,  of  pf.  1880-88,  of  free  comp. 


1883-87;  director  and  condr.  of 
ensemble  classes  1885-89;  prof,  of 
counterpoint  1888,  of  fugue  1891, 
of  mus.  from  1897;  as  pst.  first  to 
play  Tchaikovski's  C  min.  con- 
certo and  other  works;  as  compr.  of 
operatic  trilogy  Oresteia  (St.  Peters- 
burg 1895),  symph.,  6  pf.  quartets, 
etc.  remarkable  as  contrapuntist; 
author  and  translator  of  books  on 
counterpoint. 

Tans'ur,  William,  compr.  b.  Dun- 
church,  about  1700;  d.  St.  Neots,  Oct. 
7,  1783.  Orgt.  and  teacher  in  several 
places  in  Surrey  and  Leicestershire; 
composed  Compleat  Melody  (many 
editions  of  this  popular  psalm  collec- 
tion have  varying  titles),  Melodia 
Sacra,  Psalm-singer's  Jewel,  etc., 
and  wrote  New  Musical  Grammar 
and  Dictionary  1756. 

Tapper,  Thomas,  author,  teacher,  b. 
Canton,  Mass.,  Jan.  28,  1864.  Grad- 
uated at  Am.  Coll.  of  Musicians  of 
Univ.  of  State  of  N.  Y.;  studied  in 
Europe;  married  pst.  Bertha  Feiring 
Maas;  editor  The  Musical  Record 
and  Review  1903-1904,  Musician 
1904-1907;  lecturer;  instructor  Inst. 
Mus.  Art,  N.  Y.;  author  of  Chats 
with  Music  Students,  Natural  Course 
in  Mus.,  The  Music  Life,  First  Studies 
in  Music  Biography,  etc. 

Tappert,  Wilhelm,  writer,  b.  Ober- 
Thomaswaldau,  Silesia,  Feb.  19, 
1830;  d.  Sudende,  near  Berlin,  Oct. 
27,  1907.  Schoolmaster  until  1856; 
pupil  at  Kullak's  Acad.  and  of  Dehn; 
in  Berlin  after  1866;  editor  Allgem. 
deutsche  Musikzeitung  1876-80;  there- 
after on  staff  Musikalisches  Wochen- 
blatt;  author  of  Wagner-  Lexikon 
(coll.  of  terms  of  abuse  against  W.), 
Wandernde  Melodien,  works  on  old 
notation,  etc.,  also  published  ar- 
rangements of  old  German  songs 
and  pf.  studies. 

Tartini  (tar-te'-nl),  Giuseppe,  vlt.  b. 
Pirano,  Istria,  Apr.  12,  1692;  d. 
Padua,  Feb.  16,  1770.  Studied 
theology  and  law,  with  eager  desire 
for  vln.;  secret  marriage  led  to 
charge  of  abduction  before  which 


TAUBERT 


TELEMANN 


he  fled  to  monastery  at  Assisi,  where 
for  two  years  he  studied  mus.  with 
Cernohorsky;  after  appearing  at 
Padua,  so  influenced  by  hearing 
Veracini  at  Venice  that  he  retired 
again  to  Ancona,  where  further 
study  by  himself  led  to  better  knowl- 
edge of  intonation  and  discovery  of 
combinational  tones;  solo  vlt.  and 
condr.  Padua  1721;  chamber  musi- 
cian in  Prague  1723-25;  again  in 
Padua,  where  he  founded  vln.  sch. 
1728;  Nardini,  Laboussaye  among 
pupils;  works  consist  of  very  many 
concertos  and  sonatas  for  vln.  and 
other  instruments;  (famous  Tritto 
del  diavolo,  supposed  to  have  been 
produced  in  rivalry  writh  devil,  one 
of  posthumous  works) ;  "  style  united 
finish  of  Corelli  with  greater  vigor, 
passion,  and  daring,  and  he  excelled 
in  double-stopping  and  other  effec- 
tive devices."  [Pratt.] 

Taubert  (tou'-bert),  Carl  Gottfried  Wil- 
helm,  pst.,  compr.  b.  Berlin,  Mar. 
23,  1811;  d.  there,  Jan.  7,  1891. 
Pupil  of  Neithardt,  L.  Berger,  and 
B.  Klein;  student  at  Berlin  Univ.; 
taught  in  Berlin;  accomp.  at  court 
concerts  1831;  condr.  opera  and 
symph.  concerts  1842,  court  capell- 
meister  1845;  1st  capellm.  1869;  re- 
tired 1870;  composed  5  operas,  music 
to  Tempest  (very  successful),  Othello, 
and  other  plays,  4  symph. ,  and  smaller 
works,  popular  Kinderlieder,  etc. 

Tauscher,  Mme.,  see  Gadski,  Johanna. 

Tausig  (tou'-sig),  Karl,  pst.  b.  War- 
saw, Nov.  4,  1841;  d.  Leipzig,  July 
17,  1871.  Pupil  of  father  Aloys  T. 
(1820-1885),  who  was  pupil  of  Thai- 
berg,  and  compr.;  pupil  of  Liszt 
from  age  of  14  (1855-59);  dSbut 
Berlin  1858  at  orchestral  concert 
under  Von  Billow;  gave  orch.  con- 
certs in  Vienna  1862;  opened  school 
for  advanced  pf.  playing  in  Berlin 
1866;  composed  some  pf.  music,  but 
is  especially  noted  for  editions  of 
dementi  and  other  older  writers, 
arrangements  of  Bach,  pf.  edition 
of  Meister singer,  Daily  Stiidies,  etc.; 
surpassed  even  Liszt  in  wonderful 
brilliancy  of  technic,  but  despite 
remarkable  sense  of  style  never 
quite  equaled  him  in  interpretation. 

Taylor,  Samuel  Coleridge-,  see  Cole- 
ridge-Taylor, Samuel. 


Tchaikovski  (chi-kof'-ski),  Peter  Ilyitch, 
compr.  b.  Wotkinsk,  province  of 
Wjatka,  May  7,  1840;  d.  St.  Peters- 
burg, Nov.  6,  1893.  As  a  child  dis- 
played no  especial  mus.  ability; 
entered  gov't  service;  1855-58  pf. 
lessons  from  Kiindinger,  sang  in 
choir  under  Lomakin;  attempts  at 
composition  led  him  to  give  up  ser- 
vice 1863  to  enter  St.  Petersburg 
Cons.,  where  he  was  taught  by 
Zaremba  (theory),  A.  Rubinstein 
(comp.),  Ciardi  (flute),  and  Stiehl 
(organ);  taught  theory  at  Moscow 
Cons.  1866-77;  contributor  to  jour- 
nals 1872-74,  and  thereafter  devoted 
to  composition;  married  1877  and 
separated  from  wife  after  few  weeks; 
same  year  formed  friendship  with 
Frau  von  Meek,  who  out  of  her 
riches  gave  him  generous  pension 
that  he  might  be  free  to  create;  1887- 
89  tours  as  condr.  in  Germany;  1890 
lived  in  Florence;  1891  conducted 
in  Paris  and  New  York,  1892-93  in 
Germany  and  England,  where  Camb. 
Univ.  gave  him  degree;  composed 
11  operas  (Eugen  Onegin,  Pique 
Dame  best  known),  cantatas,  songs, 
6  symphonies  (No.  6  is  the  "  Pathe- 
tique),  7  symph.  poems  (Tempest, 
Manfred,  Francesca  da  Rimini,  Romeo 
and  Jidiet,  Hamlet,  Fatum,  Le  Voie- 
vode),  3  pf.  concertos,  1  vln.  concerto, 
3  string  quartets,  trio,  etc.,  some  pf. 
works,  and  songs.  Most  widely 
known  of  Russian  comprs.,  but  con- 
sidered by  Russians  as  less  charac- 
teristically national  than  any  other. 
His  music  is  marked  by  bold  modula- 
tions, strong  rhythms,  and  gorgeous- 
ness  of  orchestral  coloring,  by  which 
he  expresses  intense  personal  emo- 
tions; he  is  quite  romantic  in  the 
warmth  of  his  feeling,  brilliancy  of 
imagination  and  lack  of  reserve; 
"  his  real  contribution  to  the  history 
of  music  lies  in  his  modification  of 
symphonic  form  in  obedience  to  a 
poetic  idea."  [Newman.]  Remark- 
ably detailed  life  by  brother  Modest 
T.  has  been  translated  into  German 
by  Juon,  and,  in  part,  into  English 
by  Rosa  Newmarch. 

Telemann  (tel'le-man),  Georg  Philip, 
compr.  b.  Magdeburg,  Mar.  14, 
1681;  d.  Hamburg,  July  25,  1767. 
Self-taught  in  all  but  rudiments; 
composed  opera  at  12,  conducted 


TEMPLE 

church  music  at  14;  student  of  law 
and  languages  at  Leipzig  Univ.;  orgt. 
1704,  and  mus.  dir.  at  Neukirche; 
concertmaster  at  Eisenach  1708, 
capellmeister  there  1709  until  death, 
though  he  never  lived  there;  capell- 
meister Frankfort  1712;  mus.  dir. 
to  town  of  Hamburg  after  1721; 
more  widely  known  and  rated  higher 
in  his  day  than  his  friend  and  con- 
temporary J.  S.  Bach;  composed 
fluent  and  correct  works,  operas, 
overtures,  sonatas,  etc. 

Temple,  Hope,  see  Messager,  Mme. 
Andre. 

Ternina  (ter-ne'-na),  Milka,  dram.  sop. 
b.  Begizse,  Croatia,  Dec.  19,  1864. 
Pupil  of  Gansbacher;  debut  at  Leip- 
zig 1883;  sang  at  Ganz,  Bremen, 
Munich  1890,  New  York  after  1896, 
(sang  Kundry  in  Parsifal  there  1903), 
Bayreuth  1899;  one  of  most  power- 
ful of  great  Wagnerian  singers. 

Terpander,  Greek  musician,  b.  Antissa, 
Lesbos,  7th  cent.  B.  C.  Called 
"  father  of  Greek  music  ";  developed 
lyric  forms. 

Terry,  Mme.,  see  Sanderson,  Sibyl. 

Tesi-Tramontini  (ta'-zg-tra-mon-te'-ni) , 
Vittoria,  singer,  b.  Florence,  about 
1695;  d.  Vienna,  1778.  Pupil  of 
Redi  at  Florence  and  Campeggi  at 
Bologna;  d6but  Bologna;  sang  in 
Handel's  Rodrigo  1709;  Agrippina 
1719,  etc.;  engagements  in  Venice 
and  Dresden  1719,  Venice  and 
Naples  1719-38;  for  many  years  in 
Madrid  with  Farinelli;  in  Vienna 
1749. 

Thalberg  (tal'-barg),  Sigismond,  pst., 
compr.  b.  Geneva,  Jan.  7,  1812;  d. 
Naples,  Apr.  27,  1871.  Natural  son 
of  Prince  Moritz  Dietrichstein  who 
had  him  educated  at  Vienna;  pupil 
of  Hummel  and  Sechter,  but  greatly 
indebted  to  Mittag,  bassoon  player; 
early  appearances  as  pst.  and  compr. ; 
first  tour,  1830,  won  triumph  in 
Paris  1835,  withstood  rivalry  of 
Liszt  1836;  went  to  Brazil  1855,  to 
North  America  1856,  retired  to 
Naples  1858-62,  again  on  tours  to 
Paris,  London,  and  Brazil  in  1863, 
then  again  in  retirement;  compr.  of 
concerto,  sonata,  nocturnes,  Etudes, 
many  operatic  fantasias;  developed 
use  of  3d  staff  with  melody  between 
chord  passages;  as  virtuoso  he  was 


THEILE 

remarkable  for  breadth  and  power 
as  well  as  delicacy,  especially  for 
ability  to  bring  out  an  air  strongly, 
facility  in  crossing  hands,  etc.;  yet 
playing  is  said  to  have  lacked  expres- 
siveness of  Chopin's  and  Liszt's. 

Thayer,  Alexander  Wheelock,  writer. 
b.  South  Natick,  Mass.,  Oct.  22, 1817; 
d.  Trieste,  July  15,  1897.  Graduated 
at  Harvard  1843;  asst.  librarian 
there  1843-49;  in  Germany  1849-51 
collecting  material  for  Beethoven 
biog.,  writing  to  Dwight's  Journal, 
etc.;  staff  N.  Y.  Tribune  after  1852; 
after  1854  lived  in  Europe  (except 
1856-58  in  Boston);  attached  to 
American  Embassy  at  Vienna  1862, 
consul  at  Trieste  after  1865;  pub- 
lished chronological  list  of  Beetho- 
ven's works,  Ein  kritischer  Beitrag 
zur  B.  Literatur  and  3  vols.  of  Life 
of  B.  translated  into  German  by 
Deiters  (1866-78);  Vol.  IV  not  com- 
pleted; new  ed.  by  Deiters  cut  short 
by  his  death;  life  based  on  most 
thorough  and  faithful  use  of  sources. 

Thayer,  Arthur  Wilder,  compr.,  condr. 
b.  Dedham,  Mass.,  Aug.  26,  1857. 
Pupil  of  Guilmette,  Adams,  Chad- 
wick,  and  Zerrahn;  condr.  of  choral 
societies  in  Lowell,  Salem,  Worcester, 
Providence;  supt.  schools  in  Ded- 
ham and  Milton;  mus.  dir.  Newton- 
churches. 

Thayer,  Whitney  Eugene,  orgt.  b. 
Mendon,  Mass.,  Dec.  11,  1838;  d. 
Burlington,  Vt.,  Jan.  27,  1889. 
Pupil  in  Boston  and  later  in  Ger- 
many of  Haupt  and  Wieprecht; 
assisted  at  opening  of  Boston  Music 
Hall  organ  1862,  where  he  was  orgt. 
later;  editor  Organist's  Journal, 
Choir  Journal,  condr.  Boston  Choral 
Union,  etc.;  gave  free  org.  recitals 
in  Boston  1869;  orgt.  N.  Y.  1881-88. 

Theile  (ti'-la),  Johann,  compr.  b. 
Naumburg,  July  29,  1646;  d\  there, 
June  24,  1724.  Gamba  player  in 
Leipzig;  studied  with  H.  Schiitz; 
capellmeister  to  Duke  of  Holstein 
1673;  wrote  Adam  und  Eva  for 
opening  of  Hamburg  Opera  1678; 
capellm.  to  Duke  of  Brunswick, 
later  at  Merseburg;  taught  Zachau 
and  Buxtehude;  composed  also 
Christmas  oratorio,  a  German  Pas- 
sion, Noviter  inventum  opus  mus., 
etc.  (20  masses),  and  opus  secundum 


THIBAUD 


THOME 


(sonatas,  etc.  for  various  instru- 
ments) ;  called  "  father  of  counter- 
point "  by  his  contemporaries. 

Thibaud  (ti-bo),  Joseph  Jacques,  vlt 
b.  Bordeaux,  Sept.  27,  1880.  Pupi: 
of  father;  then  at  Paris  Cons.  oJ 
Marsick;  1st  prize  1896;  solo  vlt 
in  Colonne's  orch.;  later,  through 
many  concert  tours,  became  known 
as  a  distinguished  artist. 

Thibaut  (ti-bo),  Anton  Friedrich  Justus, 
writer,  b.  Hameln,  Jan.  4,  1774;  d 
Heidelberg,  Mar.  28,  1840.  Prof,  oi 
jurisprudence  at  Univ.;  author  oi 
Ueber  Reinheit  der  Tonkunst  (Engl. 
as  Purity  in  Musical  Art)  of  which 
there  have  been  many  editions;  it  is 
opposed  to  romantic  theories. 

Thiele  (te-la),  Friedrich  Ludwig,  orgt. 
b.  Harzgerode,  near  Bernburg,  Nov. 
18,  1816;  d.  Berlin,  Sept.  17,  1848. 
Studied  with  A.  W.  Bach  at  Royal 
Inst.  for  ch.  mus.,  Berlin;  orgt.  Paro- 
chial church  there  after  1839;  vir- 
tuoso performer  and  compr.  for  his 
instrument.  Son  Felix  Richard  T. 
(1847-1903),  compr.  of  Deutschen 
Flaggenliedes. 

Thoma  (to'-ma),  Rudolf,  teacher,  b. 
Lehsewitz,  near  Steinau-on-Oder, 
Feb.  22,  1829;  d.  Nov.,  1908. 
Studied  at  Royal  Inst.  for  ch.  mus., 
Berlin;  cantor  at  Hirschberg  1857, 
Breslau  1862;  founder  of  singing 
society  and- director  of  mus.  school; 
Royal  mus.  dir.  1870;  composed  2 
operas,  2  oratorios,  church  music,  etc. 

Thomas,  Arthur  Goring,  compr.  b. 
Ralton  Park,  Sussex,  Nov.  21,  1851; 
d.  London,  Mar.  20,  1892.  Did  not 
begin  study  of  music  until  1874, 
when  he  was  pupil  of  E.  Durand  in 
Paris;  1876-79  studied  with  Sullivan 
and  Prout  at  Royal  Acad.  Mus., 
London;  operas  Esmeralda  1883 
and  Nadeshda  1885,  cantata  Swan 
and  Skylark,  and  other  compositions 
(psalm,  choral  ode,  vocal  scenes, 
songs,  suite,  vln.  sonata,  etc.)  were 
of  such  a  quality  as  to  cause  deep 
regret  at  the  shortness  of  his  career. 

Thomas  (to-ma'),  Charles  Louis  Am- 
broise,  compr.  b.  Metz,  Aug.  5, 
1811;  d.  Paris,  Feb.  12,  1896.  Son 
of  a  musician;  pupil  at  Paris  Cons, 
of  Zimmermann,  Kalkbrenner,  Dour- 
len,  and  Lesueur;  1st  prizes  pf. 
1829,  harmony  1830,  Grand  prix  de 


Rome  1832;  produced  9  works  in 
Paris  1837-43,  then  only  one  in 
five  years,  after  which  he  reappeared 
with  Le  Caid;  however  not  until 
Mignon,  1866,  did  he  attain  distinc- 
tion; Hamlet,  1868,  was  also  popular, 
but  Mignon  seems  the  only  one  des- 
tined to  hold  its  place  in  general 
repertoire;  member  of  Acad.  1851, 
prof,  of  comp.  at  Cons.  1852,  and 
director  there  1871;  also  composed 
songs,  occasional  cantatas,  and  very 
popular  male  choruses  (Le  chant  des 
amis,  Le  carnaval  de  Rome,  etc.); 
"  style  is  characterized  by  great 
dramatic  truth,  by  striking  versa- 
tility in  handling  characters  and 
situations,  and  by  thorough  mastery 
of  orchestration.  Had  his  gift  of 
real  musical  invention  been  greater, 
he  would  have  ranked  among  the 
best  opera  writers."  [Pratt.] 

Thomas,  Theodore,  condr.  b.  Esens, 
East  Friesland,  Oct.  11,  1835;  d. 
Chicago,  Jan.  4,  1905.  Vln.  pupil 
of  his  father;  public  appearance  at 
6;  family  emigrated  1845  to  New  . 
York;  member  of  N.  Y.  orch.;  went 
on  concert  tours  as  soloist  after 
1851  with  Jenny  Lind,  Grisi,  etc.; 
founded  Mason  and  Thomas  Soirees 
of  chamber  music  with  Wm.  Mason; 
played  in  orchestras,  occasionally 
conducting  until  1861;  1864  organ- 
ized orch.  of  his  own  for  Symphony 
Soire'es  which  continued  with  some 
interruptions  to  1878;  1866  started 
summer  concerts  with  programs  far 
in  advance  of  anything  previously 
given  in  N.  Y.;  tour  of  orch.  1869; 
disbanded  1876;  director  Cincin- 
nati Festivals  after  1872,  of  Cin.  Coll. 
of  Mus.  1878-80,  of  Brooklyn  Phil- 
harmonic 1862,  '63,  '66-68,*  73-91, 
of  N.  Y.  Philharmonic  1877-78,  79- 
91,  of  Am.  Opera  Co.  1885-87  of 
World's  Columbian  Exposition  1893 
and  of  Chicago  Orch.  from  1891  till 
death;  at  various  times  condr.  of 
choral  societies;  remarkable  influ- 
ence on  music  in  U.  S.  especially  in 
developing  wide  taste  for  orchestral 
music  of  best  kind. 

Thome  (to-ma),  Francis  [Francois  Luc 
Joseph],  compr.  b.  Port  Louis, 
Mauritius,  Oct.  18,  1850;  d.  Paris, 
Nov.  16,  1909.  Studied  at  Paris 
Cons,  with  Marmontel  and  Duprato; 
1st  prize  counterpoint  1870;  teacher 


THOMSON 


TINEL 


in  Paris;  compr.  of  ballet  (Djelma), 
pantomimes  (L' Enfant  prodigue), 
mystery  (L' Enfant  Jesus'),  symph. 
ode,  romances,  many  popular  simple 
pf.  pieces  (Le  simple  aveu,  etc.),  and 
some  songs. 

Thomson  (ton-son),  Cesar,  vlt.  b. 
Lie'ge,  Mar.  17,  1857.  Studied  with 
father  and  at  Lie'ge  Cons,  where  he 
won  gold  medal  at  11;  pupil  of  Vieux- 
temps,  Leonard,  Wieniawski,  and 
Massart;  very  successful  in  Spain 
and  Italy;  chamber  musician  Baron 
von  Derwies  at  Lugano;  capell- 
meister  Bilse's  orch.  at  Berlin; 
teacher  at  Lie'ge  Cons.  1883-97,  at 
Brussels  Cons,  since  1898;  many 
concert  tours  in  Europe  and  America 
(1894-95);  as  teacher  and  player 
his  influence  tends  to  establishment 
of  technic  of  very  high  order  (his 
own  work,  especially  in  double- 
stopping,  is  remarkable);  on  the 
side  of  expression,  especially  in 
comparison  with  Ysaye,  he  is  called 
cold,  lofty,  ascetic. 

Thuille  (tu-e-ye"),  Ludwig  Wilhelm 
Andreas  Maria,  compr.  b.  Bozen, 
Tyrol,  Nov.  30,  1861;  d.  Munich, 
Feb.  5,  1907.  Studied  at  Innsbruck 
with  Pembaur,  at  Munich  with 
Baermann  and  Rheinberger;  teacher 
of  pf.  and  theory  there  after  1883, 
prof.  1890;  first  attracted  notice  by 
sextet;  later  composed  operas  (Lo- 
betanz  1898,  Gugeline  1901),  songs, 
etc.;  author,  with  R.  Louis,  of 
Harmonielehre. 

Thursby,  Emma,  sop.  b.  Brooklyn, 
Nov.  17,  1857.  Pupil  of  Meyer, 
Erani,  Mme.  Rudersdorff,  and  in 
Milan  of  Lamperti  and  Sangiovanni; 
American  concert  d£but  1875,  fol- 
lowed by  series  of  concerts  with 
Gilmore  and  church  appointment  in 
New  York;  European  tour  with 
Maurice  Strakosch  1878,  1881-82 
very  successful;  living  in  N.  Y.; 
voice  not  very  large,  but  of  great 
charm  and  admirably  managed. 

Tichatschek  (ti-ka-chek),  Joseph  Aloys, 
dram,  tenor,  b.  Ober-Weckelsdorf, 
Bohemia,  July  11,  1807;  d.  Blase- 
witz,  near  Dresden,  Jan.  18,  1886. 
Son  of  weaver;  went  to  Vienna  to 
study  medicine,  but  became  pupil 
of  Cicimera;  member  of  theatre 
chorus  and  chorusmaster;  sang  at 


Graz,  Vienna,  and  Dresden  court 
opera  1838  until  1872  when  he  was 
pensioned;  created  Rienzi  1842, 
Tannhauser  1845. 

Tieffenbriicker,  see  Duiffopruggar. 

Tiehsen  (te'-sen),  Otto,  compr.  b. 
Danzig,  Oct.  13, 1817;  d.  Berlin,  May 
15,  1849.  Studied  at  Royal  Acad., 
Berlin;  especially  known  as  song 
compr.;  wrote  also  opera  Annette, 
Christmas  cantata,  a  6-part  Kyrie 
and  Gloria. 

Tiersot  (ti-ar-so),  Jean  Baptiste  Elisee 
Julien,  writer,  b.  Bourg,  Bresse, 
France,  July  5,  1857.  Studied  with 
Savard,  Massenet,  and  Ce"sar  Franck 
at  Paris  Cons.,  where  he .  became 
asst.  librarian  in  1883,  librarian 
1909;  contributor  to  Menestrel  and 
other  periodicals;  author  of  Histoire 
de  la  chanson  populaire  en  France, 
Rouget  de  Lisle,  Hector  Berlioz  et 
la  societe  de  son  temps;  Ronsard  et  le 
musique  de  son  temps,  etc.;  editor  of 
works  of  Gluck,  Adam  de  la  Halle, 
etc. 

Tietjens  (tet-yens),  Therese  Johanne 
Alexandra,  dram.  sop.  b.  Hamburg, 
July  17,  1831;  d.  London,  Oct.  3, 
1877.  D6but  Hamburg  1849;  sang 
at  Frankfort,  Vienna  1856,  London 
1858-71,  with  Lumley  at  Her 
Majesty's  Theatre,  at  Drury  Lane, 
Co  vent  Garden,  and  Haymarket; 
sang  in  Paris  1863  and  America 
1875;  as  an  actress,  she  was  earnest 
but  lacking  in  magnetism;  her  style 
of  singing  was  noble  and  pure  and 
became  greater  as  her  voice  increased 
in  flexibility. 

Tinctoris,  Johannes  [real  name  Jean  de 
Vaerwere],  writer,  compr.  b.  Poper- 
inghe,  about  1446;  d.  Nivelles,  1511. 
Maestro  to  Ferdinand  of  Aragon 
at  Naples;  sent  to  France  to  engage 
singers,  he  stayed  there;  became 
canon  at  Nivelles;  wrote  earliest 
dictionary  of  mus.  terms  (about 
1475),  book  on  counterpoint,  and 
various  points  of  theory;  composed 
mass  and  chansons. 

Tinel  (ti-nel),  Edgar,  compr.  b.  Sinay, 
Belgium,  Mar.  27,  1854.  Pupil  of 
father,  an  orgt.,  and  at  Brussels  Cons, 
of  Brassin,  Dupont,  Gevaert,  Kuf-. 
ferath,  and  Mailly;  1st  prize  pf. 
1873,  Grand  prix  de  Rome  1877; 


TIRINDELLI 


TORELLI 


director  of  Inst.  for  Sacred  Mus.  at 
Mechlin;  inspector  of  state  mus. 
schools  1889;  prof,  of  counterpoint 
and  fugue  at  Brussels  Cons.  1896; 
dir.  Cons.  1909;  oratorio  Franciscus, 
1888,  widely  produced  because  of  its 
great  height  of  originality  (marred 
by  prolixity),  masses,  motets,  pf. 
pieces,  songs,  etc.  have  followed; 
author  of  Le  chant  gregorien. 

Tirindelli  (tf-rfn-dgl'-ll),  Pietro  Adolf o, 
vlt.  b.  Conegliano,  May  5,  1858. 
Studied  at  Milan  Cons,  and  with 
Boniforti,  later  with  Griin  in  Vienna, 
and  with  Massart  in  Paris;  prof,  at 
Liceo  Benedetto  Marcello,  Venice, 
1887,  director  1893;  condr.  of  orch. 
there;  prof,  at  Cincinnati  Coll.  of 
Mus.;  composed  operas  and  suc- 
cessful songs. 

Titl  (tetl),  Anton  Emil,  compr.  b. 
Pernstein,  Moravia,  Oct.  5,  1809; 
d.  Vienna,  Jan.  21,  1882.  Capell- 
meister  at  Vienna  Burgtheater  after 
1850;  composed  operas  (Die  Burg- 
frau,  Das  Wolkenkind),  overtures, 
mass,  etc. 

Tomaschek  (to'-ma-shgk),  Wenzel 
Johann  [Vaclav  Jan  Tomagek], 
compr.,  teacher,  b.  Skutsch,  Bo- 
hemia, Apr.  17,  1774;  d.  Prague, 
Apr.  3,  1850.  Pupil  of  Wolf  at 
Chrudim;  gave  mus.  lessons  while 
studying  law  at  Prague  Univ.; 
finally  devoted  himself  to  music 
teaching  in  Prague;  Dreyschock, 
Tedesco,  etc.  among  pupils;  good 
pst.  and  orgt.,  compr.  of  symph., 
pf.  concerto,  cantatas,  songs,  sonatas, 
etc.,  for  pf.,  of  remarkably  finished 
style,  unfortunately  obscured  by 
contemporary  Beethoven,  meetings 
with  whom  he  records  in  his 
autobiography,  which  appeared  in 
periodical  Libussa  for  1845;  mus. 
said  to  have  influenced  Schumann. 

Tombelle  (ton-bel'),  Fernand  de  la 
[real  name  Antoine  Louis  Joseph 
Gueyrand  Fernand  Fouant  de  la  T.], 
compr.  b.  Paris,  Aug.  3,  1854. 
Studied  at  Cons,  with  Guilmant  and 
Dubois;  teacher  of  theory  at  Schola 
Cantorum;  won  Chartier  Prize  for 
chamber  mus.;  composed  much  prg. 
and  church  mus.  and  orch.  suites, 
Impressions  nationales,  Tableaux 
musiciens,  and  operetta. 


Tomlins,  William  Lawrence,  teacher. 
b.  London,  Feb.  4,  1844.  Pupil  pf 
G.  A.  Macfarren  and  Silas;  in 
America  after  1869;  condr.  Chi- 
cago Apollo  Club  1875-98;  organ- 
ized children's  choruses  and  wage- 
earners'  concerts;  trained  1500 
children  for  World's  Fair  chorus; 
vocal  teacher;  author  of  Children's 
Songs  and  How  to  Sing  Them;  since 
1898  devoted  to  training  school- 
teachers; organized  Nat'l  Training 
Sch.  for  sch.  mus.  teachers,  Chicago, 
1903;  later  removed  to  London. 

Topfer  (te'p'-fer),  Johann  Gottlob,  orgt., 
writer,  b.  Niederrossla,  Thuringia, 
Dec.  4,  1791;  d.  Weimar,  June  8, 
1870.  Studied  with  Schlomilch  and 
with  Destouches,  Riemann,  and  A. 
E.  Muller;  teacher  at  Weimar 
Gymnasium  and  Seminary  1817; 
town  orgt.  Weimar  1830;  wrote 
authoritative  works  on  org.  con- 
struction Die  Orgelbaukunst,  etc., 
also  Theoretischpraktische  Organisten- 
schule,  Choralbuch,  cantata  Die  Or- 
gelweihe,  and  various  compositions 
for  instrument. 

Topliff,  Robert,  orgt.  b.  1793;  d. 
London,  Apr.  27,  1868.  Blind;  orgt. 
at  South wark;  edited  Selection  of 
Melodies  of  Tyne  and  Wear,  Script- 
ure Melodies,  etc.;  composed  sacred 
songs  (Consider  the  Lilies,  Heaven 
Our  Home,  etc.). 

Torchi  (tor'-kl),  Luigi,  writer,  b.  Mor- 
dano,  Bologna,  Nov.  7,  1858.  After 
graduation  from  Cons.,  studied  with 
Serrao  at  Naples,  and  with  Reinecke, 
Jadassohn,  and  Paul  at  Leipzig; 
prof.  mus.  hist.  Pesaro  1885-91,  of 
mus.  hist.  1891,  and  comp.  1895  at 
Bologna,  where  he  is  also  pres.  of 
Philh.  Acad.;  compr.  of  symph., 
operas,  church  music,  but  better 
known  as  author  of  contributions  to 
mus.  hist.,  many  of  which  have 
appeared  in  Rivista  mus.  italiana; 
editor  of  L'Arte  mus.  in  Italia  (mus. 
of  17th  and  18th  cent.). 

Torelli  (to-rel'-li),  Giuseppe,  vlt.  b. 
Verona,  about  1660;  d.  Ansbach, 
1708.  Studied  at  Bologna,  church 
vlt.  there;  after  concert  tour  in 
Germanv,  concertmaster  at  Ans- 
bach after  1703;  helped,  with 
Corelli,  to  establish  form  of  con- 
certo grosso,  in  which  solo  instrument 


TOSI 

is  set  off  by  accomp.  of  others;  T. 
long  considered  inventor  of  the  form, 
but,  although  his  were  published 
before  Corelli's,  C.  had  used  the  form 
earlier;  T.  is,  however,  originator 
of  solo  vln.  concerto;  instrumental 
works  are  all  sonatas  or  concertos. 

Tosi  (to'-zK),  Pier  Francesco,  singing 
teacher.  b.  Bologna,  1647;  d. 
London,  1727.  Pupil  of  father,  a 
compr.;  after  singing  with  success 
in  Italy  and  Dresden,  settled  in 
London  1692;  gave  concerts  and 
lessons;  noted  for  one  book,  Opinioni 
de'  canton  .  .  .  .  o  sieno  osser- 
vazioni  sopra  canto  figurato,  in  Eng- 
lish as  Observations  on  Florid  Song. 

Tosti,  Francesco  Paolo,  singing  teacher, 
compr.  b.  Ortona,  Abruzzi,  Apr.  9, 
1846.  Pupil  at  Naples  of  Pinto, 
Conti,  and  Mercadante;  asst. 
teacher  there  until  1869;  taught  in 
Rome,  London  after  1875,  where  he 
taught  royal  family  and  became 
prof,  at  Royal  Acad.  1894;  pub- 
lished coll.  of  Canti  populari  abruz- 
zesi  and  many  Italian  and  English 
songs  (Non  m' ama  piu,  etc.). 

Tourjee  (toor-ja/),  Dr.  Eben,  teacher. 
b.  Warwick,  R.  I.,  June  1,  1834;  d. 
Boston,  Apr.  12,  1891.  Chiefly  self- 
taught  ;  sang  and  played  org. ;  opened 
mus.  store  in  Fall  River,  and  organ- 
ized classes  in  pf.,  voice,  and  org.; 
orgt.  and  choirmaster  at  Newport; 
founded  Mus.  Inst.  at  Greenwich 
1859;  in  Germany  1863,  took  lessons 
of  A.  Haupt  and  studied  conserva- 
tory system;  founded  Providence 
Cons,  and  N.  E.  Cons.,  Boston,  1867; 
first  to  establish  class  teaching  and 
conservatories  in  U.  S.;  also  influen- 
tial in  peace  jubilees,  and  in  public 
school  music. 

Tours  (toorz),  Berthold,  vlt.,  editor,  b. 
Rotterdam,  Dec.  17,  1838;  d.  Lon- 
don, Mar.  11,  1897.  Studied  with 
father,  orgt.,  Verhulst,  and  at  cons, 
of  Brussels  and  Leipzig;  after  two 
years  in  Russia,  settled  in  London 
1861;  adviser  to  publishers  Novello, 
Ewer  &  Co.  after  1870,  and  editor  of 
many  works  and  arrangements  for 
them;  author  of  Primer  of  Violin, 
compr.  of  services,  anthems,  etc. 

Tourte  (toort),  Francois,  bow  maker. 
b.  Paris,  1747;  d.  there,  Apr.,  1835. 
Of  family  of  bow  makers;  effected 


TROUTBECK 

such  radical  reforms  that  he  is  prac- 
tically creator  of  modern  bow;  paid 
attention  to  selection  of  wood  (ren- 
dering it  flexible  and  permanently 
curved),  length,  and  method  of  at- 
taching hairs,  etc.;  improved  bow 
had  great  importance  in  develop- 
ment of  modern  vln.  technic.  - 

Tozer,  John  Ferris,  orgt.,  compr.  b. 
Exeter,  Nov.  8,  1857.  Chorister 
Exeter  Cath.;  pupil  of  Angel  and 
Wood;  Mus.  Doc.  Oxford  1896;  orgt. 
and  amateur  tenor;  holds  position 
in  Exeter  Bank;  composed  psalms, 
cantata  King  Neptune's  Daughter, 
pf.  pieces,  and  songs,  of  which  Lead, 
kindly  light  is  best  known;  ed.  coll. 
of  sailors'  songs. 

Trebelli,  Zelia  (stage  name  of  Z.  Therese 
Caroline  Guillemin  or  Gillibert], 
dram,  mezzo  sop.  b.  Paris,  Nov.  12, 
1838;  d.  Etretat,  Aug.  18,  1892. 
Pupil  of  Wartel;  de"but  Madrid  1859; 
successful  in  Germany  and  London 
after  1862;  marriage  to  Bettini,  1863, 
soon  followed  by  separation;  tour 
to  U.  S.  1884;  excellent  actress,  had 
voice  of  great  flexibility  and  brill- 
iancy. 

Treville  (tra-ve-ye') ,  Yvonne  de,  sop.  b. 
Galveston,  Aug.  25,  1881.  Appeared 
in  Boston  1898;  after  singing  in  New 
York  with  Castle  Sq.  Opera  Co., 
studied  with  Mme.  Marchesi  in 
Paris  1900;  sang  in  Madrid  1901, 
Ope>a  Comique,  Paris,  1902,  Stock- 
holm Opera  and  St.  Petersburg  Opera 
1903,  Cairo  1904. 

Trotfcre,  H.  [pseud,  of  Henry  Trotter], 
compr.  b.  London,  Dec.  24,  1855. 
Compr.  of  popular  songs  (In  Old 
Madrid,  The  Deathless  Army,  Love 
Can  Wait,  etc.). 

Troutbeck,  Rev.  John,  writer,  b.  Blen- 
cowe,  Cumberland,  Eng.,  Nov.  12, 
1832;  d.  London,  Oct.  11,  1899. 
Graduated  at  Oxford  1856,  took 
orders  1855,  precentor  Manchester 
Cath.  1865,  minor  canon  Westmin- 
ster 1869;  wrote  Primer  of  Mus.  for 
Schools,  Primer  for  Ch.  Choir  Train- 
ing, compiled  Westminster  Hymn- 
book,  and  translated  librettos  of 
Bach's  Christmas  Oratorio,  Gluck's 
two  Iphigenias  and  Orpheus,  Wag- 
ner's' Flying  Dutchman  and  several 
others. 


TROWBRIDGE 


TYE 


Trowbridge,  John  Eliot,  compr.  b. 
Newton,  Mass.,  Oct.  20,  1845. 
Parents  good  church  choir  singers; 
studied  organ  with  B.  C.  Blodgett, 
piano  with  Junius  W.  Hill;  salesman 
of  musical  instruments,  teaching 
after  business  hours;  organist  in 
Boston  and  suburbs,  principally 
Newton,  where  he  still  (1910)  resides; 
pianist  to  Musical  Association  of 
Newton  conducted  by  the  late 
Eugene  Thayer,  and  gained  experi- 
ence in  the  training  of  large  bodies 
of  singers,which  he  afterwards  turned 
to  account  as  conductor  of  choral 
societies  and  composer  of  choral 
works;  published  compositions  in 
1870,  the  first  of  a  long  series  of  suc- 
cessful works  on  large  and  small 
forms,  over  one  hundred  in  number, 
including  two  oratorios,  two  can- 
tatas, Mass  in  E,  operetta,  anthems, 
quartets,  songs,  etc. 

Truette,  Everett  E.,  orgt.,  compr.  b. 
Rockland,  Mass.,  1861.  Graduated 
at  New  England  Cons.  1881;  Mus. 
Bac.  Boston  University,  1883; 
studied  in  Europe,  1883-1885,  with 
Haupt,  Guilmant,  and  Best;  from 
Jan.,  1885,  he  was  orgt.  and  choir- 
master at  various  Boston  churches 
and  now  serves  the  Eliot  Congrega- 
tional Church,  Newton,  a  suburb  of 
Boston;  he  has  been  active  as  a 
recitalist,  especially  in  inaugurating 
organs;  has  been  successful  as  a 
teacher,  many  of  his  pupils  filling 
responsible  positions  in  Boston  and 
vicinity;  a  founder  of  the  Amer. 
Guild  of  Orgts.;  composer  of  organ 
works  and  anthems. 

Tua  (too'-a),  Teresina  [properly  Maria 
Felicita.  T.],  vU.  b.  Turin,  May  22, 
1867.  Pupil  at  Paris  Cons,  of  Mas- 
sart;  1st  prize  1880;  brilliant  success 
on  Continent,  in  England  (after 
1883),  and  America  1887;  married 
Count  Franchi-Verney  1891,  with- 
drew from  concerts  until  1895. 

Tuckerman,  Samuel  Parkman,  orgt. 
b.  Boston,  Feb.  11,  1819;  d.  New- 
port, June  30,  1890.  Pupil  of  C. 
Zeuner;  orgt.  and  choirmaster  St. 
Paul's  Ch.,  Boston,  1840,  and  after 
trip  to  England,  where  he  received 
degree  Mus.  Doc.  at  Lambeth  and 
studied  in  various  cathedrals;  one 
of  first  to  play  on  Mus.  Hall  Organ, 


Boston;  gave  many  lectures  and  re- 
citals; composed  church  music. 

Turk,  Daniel  Gottlob,  orgt.,  teacher,  b. 
Claussnitz,  Saxony,  Aug.  10,  1750; 
d.  Halle,  Aug.  26,  1813.  Pupil  in 
harmony  of  Homilius;  and  in  vln.  of 
Hiller  while  at  Leipzig  Univ.;  theatre 
vlt.;  cantor  and  teacher  at  Halle 
1776-1787,  mus.  dir.  of  Univ.  there 
1779,  orgt.  1787;  Karl  Lowe  his 
pupil;  published  org.  method,  im- 
portant Clavierschule,  books  for 
beginners,  sonatas,  sonatinas,  etc. 

Turle,  James,  orgt.,  teacher,  b.  Somer- 
ton,  Somerset,  Eng.,  Mar.  5,  1802;  d. 
London,  June  28,  1882.  Asst.  orgt 
Westminster,  orgt.  and  choirmaster 
1831-1875;  condr.  of  Antient  Con- 
certs 1840-43;  musicmaster-at  sch. 
for  Indigent  Blind  1829-56;  com- 
posed church  music,  compiled,  with 
Bridge,  Westminster  Abbey  Chant 
Book,  edited  with  Taylor  People's 
Music  Book,  wrote  Art  of  Singing  at 
Sight;  very  famous  as  teacher. 

Turner,  Alfred  Dudley,  pf.  teacher,  b. 
St.  Albans,  Vt.,  Aug.  24,  1854;  d. 
there,  May  7,  1888.  Pupil  of  J.  C. 

D.  Parker  and  Mme.  Schiller  at  N. 

E.  Cons.,  where  he  taught;   Porter 
and   Dennee    his  pupils;    composed 
smaller  pf .  pieces  and  valuable  octave 
studies. 

Turpin,  Edmund  Hart,  orgt.  b.  Not- 
tingham, May  4,  1835;  d.  London, 
Oct.  25,  1907.  Studied  with  Hullah 
and  Pauer  in  London;  orgt.  at  Not- 
tingham, London,  after  1857;  Mus. 
Doc.  Lambeth  1889;  editor  Mus. 
Standard  for  some  years  after  1880; 
editor  Mus.  News;  condr.  various 
societies;  compr.  of  Song  of  Faith, 
oratorios,  anthems,  symph.,  and 
chamber  music. 

Tye,  Christopher,  orgt.,  compr.  b. 
Westminster,  about  1508;  d.  Mar., 
1572.  Chorister  and  gentleman  of 
Chapel  Royal;  orgt.  Ely  Cath.  1541- 
62;  Mus.  Doc.  Cambridge  1545; 
translated  chapters  1-14  of  Acts  of 
Apostles  into  verse  and  set  them  to 
mus.;  -also  published  services  and 
anthems  in  strong,  sincere  style; 
much  admired  by  contemporaries; 
revival  of  Eng.  church  music  after 
upheaval  of  Reformation  attributed 
to  him. 


UGOLINI 


VAN  BREE 


u 


Ugolini  (oo-gole-rrf),  Vincenzo,  compr. 
b.  Perugia,  about  1570;  d.  there,  May 
6,  1638.  Pupil  of  Nanini  in  Rome, 
maestro  at  St.  Peter's  1620-26; 
teacher  of  Benevoli;  compr.  of  2 
books  of  madrigals,  4  of  motets, 
masses,  psalms,  etc.,  in  style  of 
Palestrina. 

Ulibisheff,  see  Oulibischeff. 

Upton,  George  Putnam,  writer,  b. 
Boston,  Oct.  25,  1834.  Graduated 
from  Brown  University  1854;  in 
journalism  in  Chicago  after  1855,  on 
staff  of  Tribune  since  1861;  founder 
of  Apollo  Club;  besides  critical  work 
which  has  done  much  to  develop 
mus.  taste  in  the  West,  has  written 
several  books:  Woman  in  Mus.,  and 
a  full  series  Standard  Operas,  Can- 
tatas, Oratorios,  Symphonies,  also 
Concert  Guide,  Musical  Memories, 
etc.,  giving  useful  summaries. 

Urban  (or'-ban),  Heinrich,  vlt.,  compr. 
b.  Berlin,  Aug.  27,  1837;  d.  there, 
Nov.  24,  1901.  Pupil  of  Hies,  Laub, 
Hellmann,  etc.;  teacher  at  Kullak's 
Acad.  after  1881;  noted  theorist; 
composed  FriMing  symph.,  3  over- 
tures, vln.  concerto,  vln.  pieces, 


songs.     Brother  Friedrich  Julius  U. 

(b.  1838),  singing  teacher  in  Berlin. 

Urso,  Camilla,  vlt.  b.  Nantes,  France, 
June  13,  1842;  d.  New  York,  Jan. 
20,  1902.  Father  orgt.  and  flute 
player;  began  vln.  at  6,  gave  concert 
at  7;  at  Paris  Cons,  pupil  of  Mas- 
sart;  came  to  America  1852  and 
played  throughout  country  with 
great  success,  at  first  with  Sontag, 
Alboni,  and  then  alone;  after  mar- 
riage to  F.  Lucre  did  not  appear 
until  1863;  after  that  gave  concerts 
chiefly  in  West  and  South  of  U.  S.; 
very  distinguished  player,  who  did 
a  great  deal  toward  arousing  en- 
thusiasm for  vln.  among  American 
women. 

Urspruch  (6r'-spruk),  Anton,  pst., 
compr.  b.  Frankfort-on-Main,  Feb. 
17,  1850;  d.  there,  Jan.  11,  1907. 
Studied  with  I.  Lachner  and  Wallen- 
stein,  Raff,  and  Liszt;  teacher  of  pf. 
at  Hoch  Cons.;  at  Raff  Cons.  Frank- 
fort since  1887;  composed  opera  Der 
Sturm  (after  Shakespeare's  Tempest), 
comic  opera,  symph.,  pf.  concerto, 
chamber  mus.,  sonata  and  other  small 
pf.  works. 


Vaccai  (yac-ca-I),  Niccold,  compr.  b. 
Tolentino,  Papal  States,  Mar.  15, 
1790;  d.  Pesaro,  Aug.  5,  1848.  Stud- 
ied with  Jannaconi  at  Rome  -and 
with  Paisiello  at  Naples;  produced 
1st  opera  1815;  dissatisfied  with 
success  on  stage,  became  singing 
teacher  at  Venice,  Vienna,  Paris, 
and  London;  prof,  of  comp.  and 
censor  at  Milan  Cons.  1838-44;  3d 
act  of  his  Giulietta  e  Romeo  was  gen- 
erally substituted  for  that  of  Bellini's 
Capuleti  ed  Montecchi;  composed 
several  other  operas,  etc.,  and  good 
method  of  singing. 

Valentini  (val-en-te'-nl),  Pietro  Fran- 
cesco, compr.  b.  Rome,  about  1570; 
d.  there,  1654.  Studied  with  Nanini; 
composed  some  operas  and  motets, 


but  is  chiefly  known  as  compr.  of 
especially  learned  canons,  of  one  of 
which  2000  solutions  are  possible. 

Valle  de  Paz  (val-la-da-paz),  Edgardo 
del,  compr.,  writer,  b.  Alexandria, 
Egypt,  Oct.  18,  1861.  Of  Italian 
parentage;  pupil  of  Cesi  and  Serrao 
at  Cons,  at  Naples;  since  1890  pf. 
prof,  at  Royal  Inst.  at  Florence; 
founder  and  editor  of  La  nuova 
musica  1896;  comp.  symph.  suites, 
notable  pf.  sonata,  etc. 

Van  Bree  (van-bra),  Jean  Bernard, 
vlt.,  compr.  b.  Amsterdam,  Jan.  29, 
1801;  d.  there,  Feb.  14,  1857.  After 
study  with  Bertelmann,  member  of 
th.  orch.,  Amsterdam;  director  Felix 
Mentis  Soc.  1829-1857,  founder  of 
Cecilia,  dir.  Mus.  School  of  Soc.  for 


VAN  CLEVE 


VEccm 


Promotion  of  Mus..;  composed  3 
operas,  2  melodramas,  masses,  over- 
tures, cantata,  etc. 

Van  Cleve,  John  Smith,  pst.,  teacher. 
b.  Maysville,  Ky.,  Oct.  30,  1851. 
Blind  from  9th  year;  pupil  of  Noth- 
nagel  in  Columbus,  O.,  of  Lang  and 
Apthorp  in  Boston  and  of  Stein- 
brecher  in  Cincinnati;  taught  at 
Inst.  for  Blind,  at  Columbus  and  at 
Janesville,  Wis.;  critic  and  teacher 
Cincinnati  1879-97;  after  a  period 
in  Chicago,  moved  to  Troy,  O.;  now 
in  Cincinnati;  published  poems, 
lectures  on  mus.,  etc. 

Van  den  Eeden  (van-den-a/den) ,  Gilles, 
orgt.  d.  Bonn  [buried,  June  20],  1782. 
Court  compr.  at  Bonn;  retired  1780; 
first  teacher  of  Beethoven. 

Van  den  Eeden  (van-den-a'den),  Jean 
Baptiste,  compr.  b.  Ghent,  Dec.  26, 
1842.  Pupil  at  Ghent  and  Brussels 
Cons.;  prize  for  comp.  1869;  dir.  mus. 
sch.  at  Mons;  composed  oratorio 
(Jacob  van  Artevelde,  etc.),  symph. 
poem  La  lutte  au  X  VI  sie.de,  etc. 

Vanderstraeten  [Van  der  Straeten],  (van- 
diir-stra-ten),  Edmond,  writer,  b. 
Oudenarde,  Belgium,  Dec.  3,  1826; 
d.  there,  Nov.  25,  1895.  Studied 
philosophy  at  Ghent,  counterpoint 
and  comp.  at  Brussels  with  Bosselot 
and  F6tis,  whose  secretary  he  be- 
came; held  life  position  in  Royal 
Library  and  made  several  trips  to 
Germany  and  Italy  to  report  on 
musical  questions;  compositions  are 
of  no  importance  compared  to  La 
musique  a  Oudenarde  avant  le  XIX 
siecle  in  7  vols.,  and  other  authori- 
tative works,  the  results  of  careful 
research  in  archives. 

Van  der  Stucken  (van-der-stoo'-ken), 
Frank  Valentin,  condr.  b.  Fredericks- 
burg,  Texas,  Oct.  15,  1858.  Went 
to  Antwerp  1866;  pupil  there  of 
Benolt,  at  Leipzig  of  Reinecke, 
Grieg,  and  Langer;  capellmeister 
Breslau  1881-82;  in  Rudolstadt  with 
Grieg  and  in  Weimar  with  Liszt 
1883;  director  Arion  Soc.  New  York 
1884  (taking  soc.  on  tour  in  Europe 
1892),  of  concerts  of  "  novelties  " 
and  of  American  comprs.,  in  N.  Y. 
1885-88,  of  Cincinnati  Cons,  and 
Orch.  1895,  dean  of  Cin.  Coll.  of 
Mus.  1897-1903;  resigned  1908  and 
removed  to  Europe;  composed  songs, 


choral  works,  music  to  Shakespeare's 
Tempest  and  orchestral  pieces  Idylle, 
Pax  Triumphans,  symphonic  prolog 
(he  first  used  the  term)  William 
Ratcliff;  work  both  as  compr.  and 
condr.  shows  power,  full  command  of 
widest  modern  forces  and  methods, 
and  originality  of  idea. 

Van  Dyck  (van-dik),  Ernest  Marie 
Hubert,  dram,  tenor,  b.  Antwerp, 
Apr.  2,  1861.  Studied  law  first,  was 
journalist  at  Brussels  and  Paris; 
pupil  in  mus.  of  Callaerts,  Demast, 
Wicart,  and  Bax;  sang  at  Lamou- 
reux  concerts,  Paris,  1883-88,  sing- 
ing Lohengrin  for  first  time  in  Paris 
at  concert  performance,  and  other 
Wagnerian  parts;  sang  and  acted  the 
role  at  Bayreuth  1888;  then  engaged 
at  Vienna,  Paris  Op<3ra  1888  for 
about  ten  years,  at  St.  Petersburg, 
London,  and  in  America  (where  he 
first  sang  in  Chicago  1899). 

Van  Rooy  (van  roy),  Anton  [Antonius 
Maria  Josephus],  dram,  baritone. 
b.  Rotterdam,  Jan.  12,  1870.  Boy 
chorister;  then  in  cigar  business; 
studied  with  Stockhausen  at  Frank- 
fort; first  successes  in  concert;  sang 
at  Bayreuth  1897,  London  1898, 
New  York  1899;  Wotan  one  of  great 
parts. 

Van  Westerhout  (van  ves'-ter-6t), 
Niccolo,  compr.  b.  Mola  di  Bari, 
Italy,  Dec.,  1862;  d.  Naples,  Aug.  21, 
1898.  Studied  with  Arienzo  at  Roy. 
Cons.  Naples;  taught  harmony  there 
after  1897;  composed  5  operas, 
symph.,  vln.  concerto,  excellent  pf. 
pieces,  etc.;  theatre  in  Mola  named 
for  him. 

Van  Zandt,  Marie,  dram.  sop.  b. 
New  York,  Oct.  8,  1861.  Pupil  of 
Lamperti;  d6but  Turin  1879;  sang 
in  London,  Paris  1880-85;  tours 
throughout  Europe  and  America 
1890;  back  at  Opera  Comique  1896; 
voice  light,  but  sweet ;  on  one  or  two 
occasions  it  has  failed  her,  and 
caused  reversals  in  otherwise  suc- 
cessful career;  Mignon  her  great  part. 

Vecchi  (vec'-ke),  Orazio,  compr.  b. 
Modena,  1550;  d.  there,  Feb.  19, 
1605.  Canon  and  archdeacon  of 
Correggio;  maestro  at  Modena  Cath. 
and  at  ducal  court;  composed  can- 
zonets, madrigals,  etc.,  but  most 
notably  Amfiparnasso,  "  commedia 


VECSEY 


VIADANA 


harmonica,"  series  of  5-part  madri- 
gals accompanied  by  pantomime 
(1597),  early  step  in  direction  of 
operatic  music. 

Vecsey  (vetchy),  Franz  von,  vlt.  b. 
Budapest,  Mar.  23,  -1893.  Father 
vlt.,  mother  pst.;  pupil  of  Hubay; 
debut  as  infant  prodigy  Budapest; 
played  in  Berlin  1903,  and  England 
1904;  later  in  U.  S.  especially  praised 
by  Joachim. 

Veracini  (vg-ra-che-nl) ,  Francesco 
Maria,  vlt.  b.  Florence,  about  1685; 
d.  near  Pisa,  1750.  Appearance  at 
Venice  had  great  influence  on  Tar- 
tini's  style;  soloist  at  London  Italian 
opera  1715-17;  chamber  virtuoso  at 
Dresden  and  at  Prague;  again  in 
London  1735-36,  success  of  his  opera 
Adriano  did  not  counterbalance  his 
envy  of  rival,  Geminiani;  retired  1747; 
compositions,  24  vln.  sonatas,  etc.; 
rather  modern  in  feeling. 

Verdelot  (var-de-lo),  Philippe,  compr. 
d.  before  1567.  Lived  at  Florence 
1530-40;  singer  at  St.  Mark's,  Venice  ; 
composed  several  books  of  madri- 
gals, motets,  and  masses. 

Verdi  (var'de),  Fortunio  Giuseppe  Fran- 
cesco, compr.  b.  Le  Roncole,  near 
Busseto,  Italy,  Oct.  10,  1813;  d. 
Milan,  Jan.  27,  1901.  Son  of  work- 
ing people;  org.  lessons  from  local 
orgt.  whom  he  succeeded  at  11; 
while  employed  in  distillery  at 
Busseto,  lived  in  house  of  musical 
people,  took  lessons  of  one,  Provesi,  j 
and  became  leader  of  local  Philhar-  I 
monic  Society;  refusal  of  authorities  j 
to  admit  him  to  Milan  Cons,  (they 
did  not  find  evidence  of  talent  for 
music)  sent  him  back  to  Busseto 
where  he  conducted  an  orchestra  in 
face  of  opposition;  1838,  two  years 
after  marriage  to  Margherita  Barezzi 
moved  to  Milan;  failure  of  first  opera 
and  death  of  wife  and  two  children 
came  close  together;  first  success 
was  Nabucco  1842,  followed  by  I  Lom- 
bardi  1843  and  the  triumph  of  Ernani, 
1844;  then  after  several  minor  works 
came  Rigoletto  1851,  Trovatore  and 
Traviata  1853,  Uri  ballo  in  maschera 
1859;  with  Laforza  del  destino  1862, 
and  Don  Carlos  1867,  and  markedly 
in  Alda  (written  for  Khedive  of 
Egypt,  1st  performed  at  Cairo  1871), 
he  turned  away  from  earlier  style 


which  was  the  purely  lyric  Italian 
manner  to  one  with  more  attention 
to  richness  of  orchestration  and 
appropriateness  of  music;  between 
1871  and  1887,  Verdi  wrote  no  dra- 
matic works,  only  the  Manzoni 
Requiem  1874;  in  1887  with  Otello 
and  1893  with  Falstaff  he  achieved 
the  only  adequate  operatic  settings 
of  Shakespeare,  and  also  wrote  with 
an  entire  truthfulness  of  dramatic 
expression,  an  elaborateness  of  in- 
strumentation, and  an  absence  of 
empty  ornament  surprising  in  a 
man  so  old  and  so  successful  in 
other  styles;  question  of  the  influ- 
ence of  Wagner  on  these  later  works 
is  still  debated,  but  the  influence 
seems  to  have  been  limited  to  seri- 
ousness of  attitude  and  careful 
orchestration  rather  than  in  adapt- 
ing of  leit  motif  or  subordination 
of  voice  parts.  In  still  widely  pop- 
ular earlier  operas  he  shows  a  fer- 
tility of  melody  scarcely  equaled 
by  any  one  except  Rossini,  which 
overbalances  the  extreme  thinness 
of  his  orchestration. 

Vere  (var),  Clementine  Duchgne  de 
[de  Vere-Sapio],  sop.  b.  Paris. 
Pupil  of  Mme.  Albertine-Baucarde" 
at  Florence;  de"but  there  at  16;  after 
concert  success  in  Europe,  returned 
to  stage  1896;  came  to  U.  S.  1899 
with  troupe  managed  by  her  hus- 
band, Sapio;  sang  in  N.  Y.  1897, 
etc.;  strong,  brilliant  soprano;  Lucia 
one  of  favorite  parts. 

Verhulst  (var-hoolsf),  Johannes  Jo- 
sephus  Herman,  compr.  b.  The 
Hague,  Mar.  19,  1816;  d.  there, 
Jan.  17,  1891.  Studied  at  local 
Cons,  with  Volcke,  at  Cologne  with 
Klein,  and  at  Leipzig  with  Mendels- 
sohn; condr.  Euterpe  concerts,  Leip- 
zig; Royal  Mus.  Dir.  at  The  Hague 
1842;  condr.  of  concerts  of  Soc.  for 
Promotion  of  Mus.  at  Rotterdam; 
organizer  of  great  Dutch  festivals; 
condr.  of  Diligentia  1860-86  and 
Cecilia  concerts  at  The  Hague;  re- 
tired 1886;  composed  symph.,  3 
overtures,  7  festival  cantatas  which 
give  him  high  rank  among  Dutch 
comprs.;  friend  of  Schumann. 

Viadana  (ve-a-da'-na),  Ludovico  da 
[properly  L.  Grossi],  compr.  b.  Via- 
dana, near  Mantua,  1564;  d.  Gual- 
tieri,  May  2,  1645.  Member  of 


VIARDOT-GARCIA 


VINCENT 


monastic  order;  maestro  at  Mantua 
1594-1609,  and  after  1644,  in  the 
meantime  at  Fano  and  Venice;  to 
his  Cento  Concerti,  1602,  used  to  be 
attributed  use  of  basso  continue, 
but  figured  bass  occurs  in  works  of 
Banchieri  1595;  V.  was,  however, 
first  to  use  the  term,  and  first  to  use 
bass  as  necessary  part  of  church  con- 
certo, distinctly  in  style  of  modern 
melodic  comp. 

Viardot-Garcia  (vi-ar-do  garthi'-a), 
[Michelle  Ferdinande]  Pauline,  dram, 
mezzo  sop.  b.  Paris,  July  18,  1821. 
d.  Paris,  May  18,  1910.  Daughter 
of  Manuel  del  P.  G.  with  whom  she 
early  went  to  America;  pf.  lessons 
in  Mexico  and  after  return  to  Europe 
of  Meysenberg  and  Liszt;  studied 
comp.  with  Reicha;  concert  d£but 
Brussels  1837;  stage  d£but  London 
1839;  sang  at  The&tre  Italien,  Paris, 
1839,  until  marriage  with  director 
Viardot  1841;  then  long  tours  in 
Europe;  created  Fides  in  Le  Prophete, 
1849,  and  Sapho,  1851,  at  Paris  Opfra ; 
sang  Orphee  and  Alceste  in  revival 
of  Gluck's  operas  at  Paris  1859,  and 
Brussels  1861;  retired  1863;  taught 
Paris  Cons.  1871-75;  among  pupils 
Artot,  A.  Sterling,  M.  Brandt;  com- 
posed operas,  vocalises,  etc.  Daugh- 
ters Louise  Heritte-V.,  teacher  of 
singing,  and  compr. ;  Mme.  Chamerot 
V.  and  Marianne  V.,  concert  singers. 
Son  Paul  vlt.  and  writer. 

Vidal  (vi-dal),  Louis  Antoine,  writer. 
b.  Rouen,  July  10,  1820;  d.  Paris, 
Jan.  7,  1891.  Pupil  of  Franchomme 
on  'cello;  great  work  Les  instruments 
d  archet,  3  volumes,  with  illustra- 
tions, giving  accounts  of  bow  instru- 
ments, famous  makers,  virtuosi,  of 
music  printing,  and  catalogs  of  cham- 
ber music. 

Vidal,  Paul  Antonin,  compr.  b.  Tou- 
louse, June  16,  1863.  Won  Grand 
prix  de  Rome  at  Paris  Cons.  1881; 
teacher  there  of  solfeggio  since  1894, 
of  pf.  accomp.  since  1896;  condr.  of 
Sunday  concerts  and  1896  chef 
d'orchestre  at  Paris  OpeYa;  com- 
posed ballets,  pantomimes,  comic 
operas  (La  maladetta,  etc.),  oratorio 
Le  noel,  orch.  suites. 

Vierling  (ver-ling),  Georg,  compr.  b. 
Frankenthal,  Palatinate,  Sept.  5, 
1820;  d.  Wiesbaden,  June  1,  1901. 


Pupil  of  father,  orgt.,  of  Neeb,  Rinck, 
and  Marx;  orgt.  at  Frankfort-on- 
Oder  1847;  condr.  Liedertafel  at 
Mayence  1852-53;  founder  and 
condr.  Berlin  Bach-Verein;  resigned 
1859;  composed  chiefly  cantatas  and 
other  choral  works  (Hero  und  Lean- 
der)  O  Roma  noblis,  for  6-part 
chorus,  symphony,  overtures. 

Vieuxtemps  (vie-ton),  Henri,  vlt.  b. 
Venders,  Belgium,  Feb.  20,  1820; 
d.  Mustapha,  Algiers,  June  6,  1881. 
Pupil  of  father,  instr.  maker  and 
tuner,  Lecloux  (with  whom  he  made 
tour  at  8),  pf  De  Beriot  at  Brussels; 
while  playing  in  Paris,  Germany, 
Austria,  and  London,  took  lessons 
in  comp.  from  Sechter  in  Vienna 
and  Reicha  in  Paris;  tours  in  Russia 
1838-39,  America  1844-45  (again  in 
1857  and  1870);  vlt.  to  Czar  and 
prof,  at  St.  Petersburg  Cons.  1846- 
52;  prof,  at  Brussels  Cons.  1871-73; 
paralysis  of  left  side  ended  career 
1873;  as  player  he  was  fond  of  dra- 
matic effects  and  was  remarkable 
for  perfect  intonation;  with  De 
Be>ipt,  founder  of  modern  school  pf 
playing;  compositions,  especially  six 
concertos,  are  popular. 

Vilbac  (v!l-bak),  Alphonse  Charles 
Renaud  de,  pst.,  orgt.  b.  Mont- 
pellier,  June  3,  1829;  d.  Brussels, 
Mar.  19,  1884.  Pupil  at  Paris  Cons, 
of  Lemoine,  Hale'vy,  and  Benoist; 
Grand  prix  de  Rome  1844;  orgt.  at 
St.  Eugene,  Paris,  after  1856;  nearly 
blind;  composed  much  cheap  mus. 
besides  operas  Au  dair  de  lune, 
Almanzor,  method  and  pleasant 
pieces  for  pf. 

Villoing  (vil'loing),  Alexander  Ivano- 
vitch,  pf.  teacher,  b.  St.  Petersburg, 
1808;  d.  there,  Sept.,  1878.  Teacher 
of  Anton  and  Nicolas  Rubinstein; 
author  of  Ecole  pratique  du  piano 
with  clever  exercises,  and  of  concerto 
and  pf.  pieces. 

Vincent,  Charles  John,  orgt.,  compr. 
b.  Houghton-le-Spring,  Durham, 
Eng.,  Sept.  19,  1852.  Pupil  of 
father,  chorister  at  Durham  Cath. 
under  Armes;  studied  at  Leipzig 
Cons.;  various  appointments  as 
orgt.;  head  of  firm  of  music  pub- 
lishers in  London;  examiner  for 
Trinity  Coll.;  composed  oratorio 


VINCI 

Ruth,  cantatas,  overtures,  songs; 
wrote  First  Principles  of  A/MS., 
Choral  Instructor  for  Treble  Voices,  etc. 

Vinci  (vin'-che),  Leonardo,  compr  *  b. 
Strongoli,  Calabria,  1690;  d.  Naples, 
1732.  Studied  with  Greco  at  Naples 
Cons.;  maestro  at  Royal  Chapel, 
Naples;  entered  monastery  of  Broth- 
ers of  the  Rosary  1728;  as  opera 
compr.  noteworthy  for  simple  dra- 
matic emotion  and  quality  of  ac- 
comp.;  most  noted  operas  are 
Ifigenia  in  Tauride,  Didone  abban- 
donata,  Alessandro  nell'  Indie;  said 
to  have  been  poisoned. 

Viotti  (ve-ot'tl),  Giovanni  Battista,  vlt., 
compr.  b.  Fontaneto  da  P6,  Ver- 
celli,  Italy,  May  23,  1753;  d.  London, 
Mar.  3,  1824.  Son  of  blacksmith; 
without  teaching  played  so  well  that 
he  was  sent  to  Pugnani  at  Turin; 
member  of  royal  orch.;  after  1780 
made  tours  to  Germany,  Russia, 
London,  and  Paris,  with  great  suc- 
cess; irritated  at  lack  of  attention 
at  one  of  his  concerts,  gave  up  play- 
ing and  devoted  himself  to  teaching 
(Rode  and  Baillot  were  pupils)  and 
direction  of  Italian  opera  with  L£on- 
ard  until  the  Revolution;  after  living 
in  London  and  Hamburg,  settled  in 
Paris  again;  director  of  Ope>a  1819- 
22  when  he  resigned;  as  composer 
of  nearly  30  concertos,  sonatas,  etc., 
teacher  and  performer,  he  is  leader 
of  modern  vln.  music;  "  the  first 
to  apply  to  the  vln.  concerto  the 
full  system  of  sonata  form  and  the 
new  resources  of  orchestration." 
[Pratt.] 

Virdung  (vlr-doongh'),  Sebastian,  orgt. 
[Dates  not  known.]  Priest;  orgt. 
at  Basle;  author  of  important  early 
illustrated  work  Musica  Getutscht, 
etc.,  Basle,  1511,  describing  mus. 
instruments  of  period  and  giving  tab- 
lature  of  lute  and  flute. 

Visetti  (vi-set'-tl),  Alberto  Antonio, 
condr.,  teacher,  b.  Spalato,  Dalma- 
tia,  May  13,  1846.  Studied  at  Milan 
Cons,  with  Mazzucato;  conducted 
concerts  at  Nice;  condr.  to  Empress 
Eugenie  in  Paris;  at  fall  of  Empire  j 
became  director  of  vocal  dept.  in 
London  Nat'l  Training  School;  wrote 
History  of  Art  of  Singing,  translated 
into  Italian  Hullah's  Hist,  of  Mod. 
Mus.  and  Hueffer's  Studies. 


VOGLER 

Vitali    (vi-ta'-le),    Giovanni    Battista, 
compr.      b.    Cremona,    about    1644; 
d.  Modena,  Oct.  12,  1692.    Pupil  of 
Cazzati;  via.  player  inch,  in  Bologna; 
2d    maestro    to    Duke   of    Modena 
after    1674;     important    compr.    in 
sonata  form  before  Corelli. 
Vittoria,  Tomaso  Ludovico  da  [properly 
Tomas  Luis  de  Victoria],  compr.    b. 
Avila,  Spain,  about  1540;  d.  Madrid, 
about    1613.     Pupil    at    Rome    of 
Escobedo  and  Morales;  maestro  at 
German  Coll.  1573,  at  San  Apollinare 
1575;  vice-maestro  at  Royal  Chapel, 
Madrid,    1589-1602;    contemporary 
and  friend  of  Palestrina;  published 
hymns    (before    P's),    motets,    and 
masses  (especially  noteworthy  is  a 
requiem);    style    closely    resembles 
that  of  Palestrina,  but  is,  neverthe- 
less, not  merely  imitative. 
Vivaldi   (vl-val'-dl),  Antonio,   vlt.     b. 
Venice,  about  1680;  d.  there,  1743. 
Son   of   vlt.   at   San    Marco;   early 
ordained  priest  and  called  "  il  prete 
rosso  "  because  of  red  hair;  in  service 
of   Elector   of   Darmstadt;   director 
after  1713  of  Venetian  Cons,  della 
Pieta,  and  vlt.  at  St.  Mark's;  wrote 
about  25  operas  and  many  vln.  con- 
certos, of  which  Bach  arranged  16 
for  clavier,  4  for  org.  and  one  for 
four  claviers  and  string  orch. 
Vogl    (vogl),    Johann   Michael,    tenor. 
b.  Steyr,  Aug.  10,  1768;  d.  Vienna, 
Nov.    19,    1840.      Law   student    at 
Vienna;   under  persuasion  of  Siiss- 
mayer  joined  opera  co.  at  Court  Th. 
1794-1822;    first    to    introduce    to 
public  songs  of  Schubert  who  was 
his  friend  and  companion. 
Vogler  (vog'-ler),  Georg  Joseph  [known 
as  Abt  V.],  compr.,  orgt.     b.  Wurz- 
burg,  June  15,  1749;  d.  Darmstadt, 
May  6,  1814.   Pupil  of  Padre  Martini 
at  Bologna,  and  of  Vallotti  at  Padua; 
entered  holy  orders  in  Rome;  found- 
ed  Tonschule,   became   court  chap- 
lain and  2d  capellmeister  at  Mann- 
heim;   journeyed    to    Paris,    Spain, 
and  the  Orient  1783-86;  court  condr., 
founder  of  mus.  school  at  Stockholm 
1786-99;   court  capellm.  and  again 
founder  of  mus.  school  at  Darmstadt; 
Meyerbeer  and    Weber  his   pupils; 
traveled    with    portable    organ    to 
illustrate  his  theories  of  simplifica- 
tion of  instrument;  wrote  advanced 
theoretical  works  on  harmony,  choral 


VOGRICH 


VUILLAUME 


singing,  etc.,  some  10  operas,  much 
church  and  org.  music. 

Vogrich  (vog'-ritch),  Max  Wilhelm 
Carl,  pst.,  compr.  b.  Hermannstadt, 
Transylvania,  Jan.  24,  1852.  Played 
in  public  at  7;  pupil  at  Leipzig  Cons, 
of  Wenzel,  Reinecke,  Moscheles,  etc.; 
long  tours  in  Europe  and  S.  America 
1870-78,  N.  America  with  Wilhelmj 
1878,  Australia  1882-86;  since  1886 
living  in  N.  Y.;  produced  4  operas 
with  his  own  librettos,  oratorio, 
cantatas,  mass,  2  symph.,  vln.  con- 
certo, numerous  pf.  pieces. 

Vogt,  A.  S.,  orgt.,  compr.,  condr.  b. 
Washington,  Ont.,  Aug.  14,  1861; 
father  an  organ  builder;  showed 
early  aptitude  for  music;  organist 
at  twelve;  educated  in  public  schools 
and  abroad;  early  musical  education 
begun  under  local  teachers,  contin- 
ued at  New  England  Conservatory, 
1881-82  under  Dunham,  Emery, 
and  Buckingham,  and  at  Leip- 
zig under  Jadassohn,  Klengel,  Ren- 
berg,  Ruthardt  and  Reinecke;  re- 
turned to  Toronto  in  1888;  orgt.  and 
choirmaster  at  Jarvis  St.  Baptist 
church,  choir  gaining  splendid  repu- 
tation during  his  incumbency  up  to 
1906;  teacher  in  Toronto  College  of 
Music  1888-92,  Toronto  Conserva- 
tory of  Music  from  1892  to  the  pres- 
sent  (1910);  conductor  Mendelssohn 
Choir,  of  Toronto,  one  of  the  best  in 
America;  author  of  Modern  Piano- 
forte Technique  (1900);  composer  of 
part-songs;  for  several  years  music 
critic  of  Toronto  Saturday  Night. 

Vogt,  Jean,  pst.,  compr.  b.  Gross-tinz, 
Jan.  17,  1823,  near  Leignitz;  d. 
Eberswalde,  July  31 ,  1888.  Pupil  of 
Bach  and  Grell  in  Berlin,  and  Hesse 
and  Seidel  in  Breslau;  made  many 
concert  tours;  in  1861  he  located  in 
Dresden,  in  1865  went  to  Berlin  as 
teacher  in  the  Stern  Cons.,  and  in 
1871  to  New  York;  returned  to  Ber- 
lin in  1873;  most  important  work  an 
oratorio,  Lazarus. 

Voigt,  Henriette  [nee  Kuntze],  pst. 
b.  Leipzig,  Nov.  24,  1808;  d.  there, 
Oct.  15,  1839.  Pupil  of  Berger,  and 
friend  of  Rochlitz,  Mendelssohn,  and 
Schumann.  , 

Volbach  (vol-bak),  Fritz,  condr.  b. 
Wipperfurth,  near  Cologne,  Dec.  17, 
1861.  Studied  at  Cologne  Cons.,  at 


Heidelberg  and  Bonn,  and  at  Royal 
Acad.  Berlin  with  Haupt,  Taubert, 
and  Loeschhorn;  teacher  of  hist,  and 
Gregorian  chant  at  Inst.  for  Ch. 
Mus.  1887;  condr.  Klindworth  Cho- 
rus; condr.  of  choral  societies  in 
Mayence  1892;  comp.  symph.  poems 
Ostern,  Alt  Heidelberg  du  feine,  can- 
tatas, etc.;  has  written  life  of  Handel 
and  books  on  performing  of  H's 
works  and  on  Gregorian  chant. 

Volckmar  (volk'-mar),  Wilhelm  Valen- 
tin, orgt.  b.  Hersfeld,  Kassel,  Dec. 
26,  1812;  d.  Homberg,  near  Kassel, 
Aug.  27,  1887.  Ph.D.  at  Marburg; 
mus.  teacher  at  Homburg  Seminary 
after  1835;  excellent  performer  and 
compr.  of  org.  concertos,  20  sonatas, 
symph.,  method,  and  exercises. 

Volkmann,  Friedrich  Robert,  compr. 
b.  Lommatzsch,  Saxony,  Apr.  6, 
1815;  d.  Pesth,  Oct.  30,  1883.  Org. 
and  pf.  pupil  of  father,  a  cantor;  vln. 
and  'cello  with  Friebel,  comp.  with 
Anacker  and  K.  F.  Becker  at  Leipzig; 
encouraged  by  Schumann;  taught 
at  Prague  1839-42,  and,  except  for 
1854-58  at  Vienna,  at  Pesth,  part  of 
the  time  at  Nat'l  Acad.;  composed 
2  symphonies,  serenades  for  strings 
and  overtures  and  smaller  works  for 
various  instruments,  many  pf.  works, 
2  masses,  sacred  and  secular  songs, 
etc.;  akin  to  Schumann  in  manner  of 
writing,  V.  is  most  widely  known  for 
string  serenades. 

Voss,  Charles,  pst.  b.  Schmarsow,  near 
Demmin,  Pomerania,  Sept.  20,  1815; 
d.  Verona,  Aug.  28,  1882.  After 
study  in  Berlin,  became  great  favor- 
ite in  Paris;  composed  much  salon 
music  and  some  serious  concertos, 
Etudes,  etc. 

Vuillaume   (vwe-yom),  Jean  Baptiste, 

vln.-maker.  b.  Mirecourt,  Vosges, 
Oct.  7,  1798;  d.  Paris,  Mar.  19,  1879. 
Worked  with  father  Claude,  at  Paris 
with  Chanot,  and  in  partnership 
with  Le'te';  after  1828  alone;  enthu- 
siasm for  old  vlns.  so  hindered  sale 
of  his  own  that  he  manufactured 
almost  perfect  imitations  of  Strads. 
and  of  Duiffopruggar  vlns.  and  'cellos 
(theory  that  D.  was  perfector  of  vln. 
due  to  these  forgeries);  several 
inventions,  octobasse,  contre-alto, 
p6dale  sourdine,  machine  for  making 
gut  strings  of  equal  thickness,  etc. 


WACHS 


WAGNER 


w 


Wachs  (vaks),  Etienne  Victor  Paul, 
pst.  b.  Paris,  Sept.  19,  1851.  Stud- 
ied at  Paris  Cons,  with  Masse1,  Mar- 
montel,  and  C.  Franck;  1st  prize 
org.  playing  1877;  orgt.  at  St.  Mary; 
treatises  on  harmony  and  counter- 
point; comp.  popular  pf.  pieces. 

Wachtel  (vak'-tel),  Theodor,  dram.  ten. 
b.  Hamburg,  Mar.  10,  1823;  d. 
Frankfort-on-Main,  Nov.  14,  1893. 
Son  of  livery  stable  keeper,  whose 
business  he  carried  on  until  voice 
was  "discovered";  pupil  of  Fraulein 
Grandjean;  d6but  in  Hamburg,  and, 
after  further  study  in  Vienna,  sang 
in  many  cities,  London  1862,  Berlin 
1865,  Paris  1869,  U.  S.  1871  and 
1875;  brilliant  lyric  tenor,  good  in 
French  and  Italian  operas. 

Waelrant  (wal'-ront),  Hubert,  teacher. 
b.  Tongerloo,  Brabant,  about  1517; 
d.  Antwerp,  Nov.  19,  1595.  Stud- 
ied with  Willaert  at  Venice;  founder 
of  school  in  Antwerp  1547,  partner 
of  Laet  as  publisher;  "as  teacher  he 
broke  with  old  system  of  solmisation 
by  hexachords,  introducing  new 
system  of  7-tone  names,  60,  ce,  di, 
ga,  lo,  ma,  ni,  called  bocedisation  or 
bobisation." 

Wagenseil  (va'-gen-sil),  Georg  Chris- 
toph,  compr.  b.  Vienna,  Jan.  15, 
1715;  d.  there,  Mar.  1,  1777.  Pupil 
of  J.  J.  Fux;  mus.  teacher  to  Maria 
Theresa,  teacher  and  compr.  to 
her  children ;  composed  divertimenti, 
symph.,  sonatas,  operas,  etc. 

Wagner  (vag'-ner),  Cosima,  b.  Dec. 
25,  1841.  Daughter  of  Franz  Liszt 
and  Countess  d'Agoult,  who  wrote 
over  pseud,  of  Daniel  Stern;  after 
their  separation,  C.  lived  with  Liszt's 
mother,  then  with  mother  of  Hans 
von  Billow,  whom  she  married  in 
1857;  visited  Wagner  and  his  wife 
on  their  wedding  trip  and  again  a 
year  later;  C.  went  to  live  with  Wag- 
ner about  1864,  and  after  her  divorce 
from  Von  Biilow,  in  1869,  married 
W.  1870;  her  devotion  and  sym- 
pathy were  a  great  support  to  him 
during  his  life;  after  his  death  she 
managed  the  Bayreuth  festivals. 


Wagner,  Richard  [orig.  Wilhelm  Rich- 
ard], compr.  b.  Leipzig,  May  22, 
1818;  d.  Venice,  Feb.  13,  1883.  Son 
of  Friedrich  W.,  clerk  of  the  police, 
and  Johanna  Rosina,  nee  Bertz; 
after  death  of  Fr.,  widow  married 
Ludwig  Geyer,  actor,  singer,  author 
and  portrait  painter  who  took  her 
children  to  Dresden;  Richard  went 
to  the  Kreuzschule,  and  1827,  when 
family  moved  to  Leipzig  after  death 
of  stepfather,  to  Nikolai  Gymnasium 
at  Leipzig;  took  early  interest  in 
mythology,  great  tragedies,  and  in 
music,  though  he  never  learned  to 
play  on  an  instrument;  after  some 
independent  attempts  at  comp.,  had 
some  ineffective  lessons  from  G. 
Miiller,  and  while  student  pf  philol- 
ogy and  esthetics  at  Leipzig  Univ., 
studied  comp.  with  Th.  Weinlig 
and  became  familiar  with  scores  of 
Beethoven  and  Mozart;  symphony 
performed  1833;  1833  became  chorus- 
master  at  Wvirzburg  Th.,  where  his 
brother  Albert  was  singer  and  stage 
manager,  here  wrote  Die  Feen,  not 
performed  until  1888;  1834  condr. 
of  Magdeburg  Th.,  where  two  per- 
formances of  his  Das  Liebesverbot 
ended  its  career;  married  Wilhelmine 
Planer  1836;  condr.  at  Konigsberg 
1837,  at  Riga  1837;  1839-42  lived 
in  great  poverty  in  Paris,  compos- 
ing songs,  arranging  dances,  etc., 
trying  to  get  hearing  at  Ope>a, 
where,  despite  some  help  from  Mey- 
erbeer, he  got  but  little  for  the  li- 
bretto for  The  Flying  Dutchman. 
With  the  performance  of  Rienzi  in 
Dresden  1842,  began  W's  fame  and 
his  even  greater  troubles  (he  was 
there  to  superintend  rehearsals);  its 
great  success  led  to  performance 
1843  of  Der  Fliegende  Hollander, 
which  was,  however,  too  advanced 
to  succeed.  The  remaining  events 
of  his  life,  briefly,  are  as  follows: 
Became  condr.  at  Dresden  1843  and 
produced  Tannhauser  there  1844; 
his  Proposition  for  Nat.  Th.  having 
been  ignored,  W.  became  impatient 
and  expressed  some  sympathy  with 
May  Revolution;  as  a  result,  he  was 
obliged  to  leave  Dresden  1849;  lived 


WAGNER 


WALLNOFER 


in  Zurich  for  3  years,  publishing 
many  pamphlets  (The  Art  Works  of 
the  Future,  Judaism  in  Music,  Opera 
and  Drama,  etc.),  in  which  he  ex- 
pounded many  of  the  theories  he 
later  put  into  practise;  1855  con- 
ducted 8  concerts  in  London;  1860 
Liszt  produced  Lohengrin  at  Weimar; 
1861,  after  concerts  in  France,  came 
three  performances  of  Tannhauser 
in  Paris  which  ended  in  practical 
riots;  from  1861-64',  W.  gave  con- 
certs in  Russia  and  elsewhere;  1863 
published  poem  of  Das  Ring  der 
Nibelungen,  in  despair  of  a  chance 
to  produce  it;  at  this  juncture  Lud- 
wig  II  came  to  the  throne  of  Ba- 
varia and  invited  W.  to  live  at 
Munich  and  superintend  perform- 
ances of  his  works;  Von  Biilow  came 
to  conduct,  and  it  was  at  this  time 
that  his  wife  Cosima  transferred  her 
affections  to  W.,  who  had  separated 
from  his  wife  in  1860;  1865,  owing  to 
protests  of  Ludwig's  court  against 
extravagant  favors,  W.  left  Munich 
for  Switzerland,  where  he  lived  until 
1872,  when  he  moved  to  Bayreuth; 
Tristan  and  Die  Meistersinger  were 
produced  at  Munich  in  1865  and  '68; 
and  there  were  preliminary  perform- 
ances of  parts  of  the  Ring  1869,  '70; 
W.  societies,  formed  all  over  the 
world,  raised  money  to  build  theatre 
at  Bayreuth,  where  finally  the  com- 
plete Ring  1876,  and  Parsifal  1882, 
were  performed;  died  while  at  Venice 
for  health.  The  chief  reforms  which 
W.  introduced  into  the  opera  are 
first,  unity  to  which  drama,  music, 
and  scenery  all  contribute,  conse- 
quent subordination  of  singers,  and 
removal  of  all  separate  numbers  and 
opportunities  for  individual  display; 
second,  the  expression  by  the  ac- 
companying orchestra  of  the  states 
of  mind  and  soul  of  the  characters, 
made  clear  by  the  use  of  leading 
motives,  that  is,  short  musical 
phrases  identified  with  single  ideas. 
Aside  from  these  technical  points, 
the  music  is  the  loftiest  attempt  yet 
made  in  the  history  of  opera,  for  gen- 
eral depth  -of  significance  combined 
with  rare  beauty  of  tone.  His  son, 

Wagner,  Siegfried  Richard,  compr. 
b.  Triebschen,  June  6,  1869. 
Studied  architecture  at  polytechnic 
school;  music  with  Kniese  and 


Humperdinck;  concert  cpndr.  in  vari- 
ous places  in  Germany  since  1893;  at 
Bayreuth  as  assistant  dir.  since  1894, 
joint  condr.  since  1896;  compr.  of 
symph.  poem  Sehnsucht,  and  operas 
Der  Barenhduter  1899,  Herzog  Wild- 
fang  1901,  Der  Kobold  1904,  Stern- 
engebot  1908,  Banadietrich  1909. 

Waldteufel  (vald'-toi-fel),  Emil,  compr. 
b.  Strassburg,  Dec.  9,  1837.  Pupil 
at  Paris  Cons,  of  Marmontel  and 
Laurent;  exhibitor  in  pf.  manufac- 
tory; success  of  waltzes  turned  him 
to  comp.;  compr.  to  Empress  Eu- 
genie, dir.  of  court  balls;  very  popu- 
lar compr.  of  dances  Espana,  Estu- 
diantina,  etc. 

Walker,  Edyth,  dram,  contralto,  b. 
Hopewell,  New  York,  1870.  At  first 
school-teacher;  church  singer;  pupil 
of  Orgeni  at  Dresden  Cons.,  sang  at 
Vienna  Court  Opera  1899-1903;  at 
New  York  since  1903;  developed  her 
voice,  naturally  of  great  range,  so 
that  she  now  sings  soprano  parts. 

Walker,  Ernest,  orgt.,  writer,  b.  Bom- 
bay, July  15,  1870.  Author  of  His- 
tory of  Mus.  in  England;  compr.  of 
songs  for  1,  2,  and  4  voices,  which 
are  praised  for  delightful  originality; 
successful  settings  to  verses  by  W. 
E.  Henley. 

Wallace,  William  Vincent,  compr.  b. 
Waterford,  Ireland,  June  1,  1814; 
d.  Chateau  de  Bages,  Haute  Ga- 
ronne, Oct.  12,  1865.  Vlt.  in  Dub- 
lin churches;  after  1835  wandered  to 
Australia,  S.  America,  Mexico,  U.  S., 
etc.  giving  successful  concerts;  in 
London  1845-47,  prod.  Maritana, 
Matilda  of  Hungary;  after  1853 
chiefly  in  London  and  Paris;  operas, 
especially  Maritana,  Lurline,  The 
Amber  Witch,  etc.,  were  very  success- 
ful, as  were  also  pf.  nocturnes;  operas 
full  of  fluent  if  somewhat  ordinary 
melody,  and  rivaled  Balfe's  in 
popularity. 

Wallnofer  (val'-ne"f-er),  Adolf,  singer. 
b.  Vienna,  Apr.  26,  1854.  Studied 
comp.  with  Waldmuller  and  others, 
singing  with  Rokitansky;  sang  con- 
certs in  Vienna  as  baritone;  after 
1880  sang  tenor  at  Olmiitz,  with 
Neumann's  Wagner  Co.,  at  Bremen, 
and  Prague,  New  York  1897-99,  and 
Russia;  composed  3  operas  and 
many  ballads  (Schon  Rohtraut,  etc.). 


WALMISLEY 


WASIELEWSKI 


Walmisley,  Thomas  Forbes,  compr.  b. 
London,  1783;  d.  there,  July  23, 
1866.  Pupil  of  Thomas  Attwpod; 
orgt.  at  St.  Martin-in-the-Fields 
after  1810;  composed  many  popular 
glees,  of  which  he  published  4  col- 
lections. Son  Thomas  Attwood  W. 
(1814-1856),  orgt.,  prof,  of  music  at 
Cambridge,  compr.  of  church  music. 

Walther  von  der  Vogelweide  (val'-ter 
von-der  vo'-gel-wi-dg),  minnesinger, 
b.  in  Tyrol,  about  1168;  d.  Wiirz- 
burg,  about  1230.  Most  famous 
lyric  poet  of  mediaeval  Germany; 
introduced  as  character  in  Die 
Meistersinger  by  Wagner. 

Walther  (val'-ter),  Johann  Gottfried, 

orgt.,  lexicographer,  b.  Erfurt,  Sept. 
18,  1684;  d.  Weimar,  Mar.  23,  1748. 
Studied  with  Adlung,  Kretschmar, 
and  J.  B.  Bach;  orgt.  Erfurt  1702; 
town  orgt.  at  Weimar  1707,  court 
musician  1720;  compr.  of  choral 
variations,  preludes,  fugues,  etc.; 
chief  work  Musikalisches  Lexikon, 
first  encyclopedia  of  biography, 
terms,  etc.,  1732,  a  work  whose  value 
is  greater  than  would  appear  from 
meagre  mention  of  W's  friend  J.  S. 
Bach;  corrections  prepared  for  the 
second  edition  were  used  by  Gerber. 

Walthew,  Richard  Henry,  compr.  b. 
Islington,  London,  Nov.  4,  1872. 
Pupil  at  Roy.  Coll.  Mus.  of  Hubert 
Parry;  first  gained  notice  by  per- 
formance of  own  concerto,  London, 
1894;  has  comp.  orch.  suite,  festival 
march,  pieces  for  clarinet  and  pf., 
and  music  to  Browning's  Pied  Piper 
of  Hamelin. 

Wanhal  (van-hal),  Tohann  Baptist, 
compr.  b.  Neu-Nechanitz,  Bohemia, 
May  12,  1739;  d.  Vienna,  Aug.  26, 
1813.  Son  of  peasant;  at  first  self- 
taught,  later  studied  in  Italy;  men- 
tally deranged  for  several  years; 
compr.  of  numerous  symph.,  sonatas 
(some  with  titles,  Battle  of  Trafalgar, 
etc.),  and  chamber  music;  very  pop- 
ular at  time  of  Haydn  despite  super- 
ficiality of  his  music. 

Wareing,  Herbert  Walter,  orgt.  b. 
Birmingham,  Apr.  5,  1857.  Pupil 
of  Swinnerton  Heap,  and  at  Leip- 
zig of  Reinecke,  Jadassohn,  etc.; 
Mus.  Doc.  Cambridge  1886;  vari- 
ous org.  appointments;  pf.  prof,  at 


Malvern  Coll.;  composed  cantatas 
( New  Year's  Eve,  Wreck  of  the  Hes- 
perus), overture,  10  concert  pieces  for 
vln.  and  pf.,  anthems,  and  services. 

Warren,  George  William,  orgt.  b. 
Albany,  N.  Y.,  Aug.  17,  1828.  Self- 
taught;  positions  in  Albany,  Brook- 
lyn, and  at  St.  Thomas's,  N.  Y.; 
composed  church  music  and  pub- 
lished Hymns  and  Tunes. 

Warren,  Richard  Henry,  condr.,  compr., 
orgt.  b.  Albany,  N.  Y.,  Sept.  17, 
1859.  Son  of  George  William  War- 
ren, orgt.;  began  study  of  music  at 
an  early  age;  orgt.  and  choirmaster 
in  New  York  at  various  churches 
after  1877;  1907  at  Church  of  the 
Ascension,  which  position  he  still 
holds  (1910);  condr.  N.  Y.  Church 
Choral  Society  1886-1895,  1903- 
1907,  and  of  series  of  orchestral  con- 
certs 1905;  condr.  Yonkers  Choral 
Society;  has  composed  6  operettas, 
cantata,  orchestral  works,  string 
quartet,  songs,  anthems,  etc. 

Warren,  Samuel  Prowse,  orgt.  b. 
Montreal,  Feb.  18,  1841.  Org.  pupil 
pf  Haupt,  pf.  of  Gustav  Schumann, 
instrumentation  of  Wieprecht;  orgt. 
at  All  Souls',  N.  Y.  1866-68,  at 
Trinity  1874-76,  .at  Grace  Church 
1868-74  and  1876-94;  since  1895  1st 
Presby.  at  Orange,  N.  J.,  has  given 
great  many  recitals  throughout  coun- 
try; compr.  of  church  music,  part- 
songs,  org.  and  pf.  mus. 

Wartel  (var-tel'),  Pierre  Fransois,  tenor, 
singing  teacher,  b.  Versailles,  Apr.  3, 
1806;  d.  Paris,  Aug.,  1882.  Studied  at 
Choron's  Inst.,  at  Paris  Cons,  under 
Banderali,  and  Nourrit;  (1st  prize 
1829);  d«£but  1830;  sang  at  Paris 
Op4ra  for  15  years;  after  tours, 
taught  in  Paris;  Trebelli  among 
pupils. 

WasielewsM  (va-sl-e-lef'-ski),  Joseph 
W.  von,  vlt.  b.  Gross-Leesen,  near 
Danzig,  June  17,  1822;  d.  Sonders- 
hausen,  Dec.  13,  1896.  Pupil  at 
Leipzig  Cons,  of  David,  Hauptmann, 
and  Mendelssohn  and  of  David  pri- 
vately; member  of  Gewandhaus 
Orch!;  critic  for  Signale  and  other 
journals;  concertmaster  at  Di'issel- 
dorf  under  Schumann  1850-52; 
condr.  singing  society  at  Bonn;  after 
living  in  Dresden,  became  town  mus. 


WATSON 


WECKERLIN 


dir.  at  Bonn,  1869-1884,  when  he  re- 
tired; taught  history  at  Sonders- 
hausen  Cons.;  wrote  lives  of  Schu- 
mann, Reinecke,  etc.,  histories  of 
vln.,  'cello,  and  of  instrumental 
music;  composed  vln.  music  and 
patriotic  songs. 

Watson,  William  Michael,  compr.  b. 
Newcastle-on-Tyne,  July  31,  1840; 
d.  E.  Dulwich,  London,  Oct.  3,  1889. 
Founded  West  End  Sch.  of  Mus., 
London,  1883;  composed  cantata 
Aladdin,  songs  (Afloat,  my  country 
calls  me,  etc.),  pf.  mus.;  wrote 
poetry;  composed  under  pseudonym 
Jules  Favre. 

Webb,  George  James,  orgt.  b.  Rush- 
more  Lodge,  near  Salisbury,  Eng., 
June  24,  1803;  d.  Orange,  N.  J., 
Oct.  7,  1887.  Orgt.  at  Falmouth, 
at  Old  South  Ch.,  Boston,  after  1830; 
co-founder  and  condr.  Boston  Acad- 
emy of  Mus.  1836;  pres.  Handel  and 
Haydn  Soc.  1840;  went  to  Orange 
1870,  and  retired  there,  after  teach- 
ing in  N.  Y.  1876-85;  edited  period- 
icals Mus.  Library,  Mus.  Cabinet, 
published  Vocal  Technics,  etc.,  edited 
Young  Ladies'  Vocal  Class  Book, 
and  similar  collections;  did  much  to 
establish  popular  interest  in  music 
and  to  extend  public  instruction. 

Webbe,  Samuel,  compr.  b.  Minorca, 
1740;  d.  London,  May  25,  1816. 
Pupil  of  Barbandt;  master  of  music 
at  Portuguese  chapel  in  London; 
secretary  to  Catch  Club  1784;  li- 
brarian of  Glee  Club  1787;  composed 
nine  books  of  glees,  27  of  them  win- 
ning Catch  Club  prizes  (Discord,  dire 
sister,  When  winds  breathe  soft, 
etc.).  HisN  son  Samuel  W.,  Jr. 
(1770-1843),  also  composed  catches, 
and  held  several  positions  as  orgt. 

Weber  (va'-ber),  Carl  Maria  Friedrich 
Ernst,  Freiherr  von,  compr.  b.  Eu- 
tin,  Aldenburg,  Dec.  18,  1786;  d. 
London,  June  5,  1826.  Son  of  lieu- 
tenant, counsellor  and  judge;  youth 
spent  among  wandering  actors,  etc.; 
pupil  of  his  brother,  of  Heuschkel, 
of  M.  Haydn,  and  Kalcher,  and 
of  Abt  Vogler  in  Vienna;  private 
secretary  to  Duke  of  Wiirttemberg, 
gay  life  cut  short  by  imprisonment 
and  exile  for  insult  to  King;  wandered 
to  Mannheim,  Darmstadt,  Switzer- 
land, giving  concerts;  mus.  dir.  'of 


opera  in  Prague  1813,  worked  hard 
to  accomplish  improved  results; 
established  a  national  opera  at 
Dresden  1817;  encountered  difficul- 
ties as  champion  of  German  opera 
against  Italian;  composed  cantata, 
a  very  popular  concert  piece,  Invi- 
tation to  the  Dance,  for  pf.  and  orch., 
and  songs;  became  widely  known, 
however,  only  in  1821  with  per- 
formance of  Der  Freischiltz  at  Ber- 
lin; Euryanthe  followed  1823;  Oberon 
was  composed  on  order  from  London 
and  brought  out  there  1826;  after  con- 
ducting 12  performances  of  the  work 
W.  died.  He  composed  many  works 
for  pf .  (of  which  he  was  distinguished 
player),  some  for  orch.,  but  is  most 
important  as  opera  compr.  Keen, 
first  hand  knowledge  of  the  stage 
enabled  him  to  make  his  works 
dramatically  effective,  and  he  seems 
to  have  anticipated  Wagner  in  de- 
sire to  have  all  the  arts  contribute 
to  one  operatic  whole.  Depth  of 
meaning  and  significance,  and  lofti- 
ness of  expression  are  entirely  lack- 
ing in  his  work;  his  melodies  are 
often  superficial  and  his  accompani- 
ments heavy.  His  value  lies  in  his 
power  of  presenting  a  romantic  pict- 
ure, of  suggesting  the  emotional 
setting  of  a  folk-story,  by  ingenious 
details  of  orchestral  color  (he  made 
several  discoveries  in  wood-wind 
effects).  He  was  the  first  thorough- 
ly German  opera  compr.  and  the 
first  of  the  line  of  German  roman- 
ticists. 

Weber,  Gottfried,  theorist,  b.  Freins- 
heim,  near  Mannheim,  Mar.  1, 
1779;  d.  Kreuznach,  Sept.  21,  1839. 
Lawyer,  public  prosecutor  at  Darm- 
stadt; amateur  pst.,  'cellist,  and  flute 
player;  condr.  soc.  at  Mannheim, 
founder  of  cons,  there;  opera  direc- 
tor at  Mayence;  his  Versuch  einer 
Geordneten  Theorie  der  Tonsetzkunst 
introduced  system  of  indicating 
major  chords  by  capital,  minor  by 
small  letters,  etc.;  wrote  other  theo- 
retical books  and  articles;  founded 
journal  Cacilia  1824. 

Weckerlin  (vek'-ar'-lan),  Jean  Bap- 
tiste  Theodore,  writer,  b.  Gebweiler, 
Alsatia,  Nov.  9,  1821;  d.  Paris,  May 
20,  1910.  Left  business  of  cotton- 
dyeing  1844  to  study  at  Paris  Cons, 
with  Ponchard  and  Halevy;  taught; 


WEELKES 


WEISS 


joint  dir.  of  Soc.  Ste.  C6cile;  asst. 
librarian  at  Cons.  1869,  librarian 
1876-1909;  published  bibliog.  cata- 
log 1885;  success  with  one-act  opera 
L'Organiste  dans  I'embarras  followed 
by  others;  compr.  of  larger  choral 
works;  has  written  Histoire  de  V in- 
strumentation, Musiciana  (interest- 
ing anecdotes  and  essays),  collected 
Chansons  populaires  des  provinces,  etc. 

Weelkes,  Thomas,  compr.  b.  about 
1578;  d.  Dec.,  1623.  Orgt.  at  Win- 
chester Coll.  1600,  at  Chichester 
Cath.  1608;  Mus.  Bac.  Oxford  1602; 
published  ballets  and  madrigals  from 
1598  to  1614,  contributing  4s  Vesta 
was  from  Latmos  Hill  Descending  to 
the  Triumphs  of  Oriana;  part-writ- 
ing excellent  and  original. 

Wegelius  (va-ga'-lius),  Martin,  condr., 
compr.  b.  Helsingfors,  Nov.  10, 
1848.  Student  of  philosophy  and 
condr.  of  academical  choral  society; 
pupil  of  Bibl  at  Vienna  and  of  Rich- 
ter  and  Paul  in  Leipzig;  condr.  Fin- 
nish opera  and  mus.  soc.  at  Helsing- 
fors, director  of  cons.;  published 
overture,  cantatas,  songs,  etc.,  Swed- 
ish text-book  on  harmony,  and 
Course  in  Key  Finding. 

Weidenbach  (vl-den-bak),  Johannes, 
pf.  teacher,  b.  Dresden,  Nov.  29, 
1847;  d.  Leipzig,  June  28,  1902. 
Pupil  at  Leipzig  Cons.,  and  teacher 
there  from  1873. 

Weigl  (vlgl),  Joseph,  compr.  b.  Eisen- 
stadt,  Hungary,  Mar.  28,  1766;  d. 
Vienna,  Feb.  3,  1846.  Son  of  orch. 
'cellist  and  opera  singer;  studied 
with  Albrechtsberger  and  Salieri; 
produced  over  30  operas  1788-1825, 
mostly  for  La  Scala,  Milan;  2d 
court  condr.  1825,  and  after  that 
wrote  masses,  offertories,  etc.;  most 
popular  opera  Die  Schweizerfamilie; 
long  in  repertoire. 

Weil,  Oscar,  compr.,  teacher,  b.  Co- 
lumbia Co.,  N.  Y.,  1839.  Educa- 
tion carried  on  in  private  school  at 
Albany,  N.  Y.,  after  which  he  went 
to  Leipzig,  where  he  studied  under 
Richter,  Reinecke,  and  Plaidy,  and 
at  Paris,  where  he  became  closely 
acquainted  with  Stephen  Heller; 
served  in  the  War  of  the  Rebellion 
in  which  he  was  wounded,  and  com- 
menced his  professional  career  after 
the  close  of  the  war;  compositions 


include  four  operas,  many  songs, 
duets,  etc.,  ana  piano  pieces;  now 
(1910)  lives  in  San  Francisco. 

Weingartner  (vln'-gart-ner),  Paul  Felix, 
condr.,  compr.  b.  Zara,  Dalmatia, 
June  2,  1863.  Pupil  of  W.  A.  Remy, 
won  Mozart  Prize  at  Leipzig  Cons., 
and  stayed  with  Liszt  at  Weimar; 
th.  condr.  at  Konigsberg  1884, 
Danzig  1885-87,  and  Hamburg  1887- 
89,  Mannheim  1889-91;  2d  capell- 
meister  Berlin  Court  opera  1891-97; 
ill  health  obliged  him  to  resign  all 
but  conducting  of  symph.  concerts 
1897;  1898-1908  conducted  Kaim 
Orch.  in  Munich;  1908  succeeded 
Mahler  as  director  of  the  Vienna 
Court  opera;  conducted  concerts  in 
America  1904,  '05,  '06;  joint  editor 
of  works  of  Berlioz;  composed  3 
operas  (Sakuntala,  Malawika,  and 
Genesius) ,  3  symphonies,  several  sym- 
phonic poems  (Konig  Lear,  Gefilde 
der  Seligen),  songs,  sextet,  etc.;  has 
written  Ueeber  das  Dirigiren  and  Die 
Symphonie  nach  Beethoven;  condr.  of 
remarkable  breadth,  being  able  to 
bring  out  not  only  the  intellectual 
structure  of  a  work,  but  also  its  poetic 
significance. 

Weinlig  (vln'-lig),  Christian  Ehregott, 
orgt.  b.  Dresden,  Sept.  30,  1743; 
d.  there,  Mar.  14,  1813.  Pupil  of 
Horhilius;  orgt.  at  Leipzig,  Thorn, 
and  at  Dresden,  where  he  was  also 
accomp.  at  Italian  Opera;  cantor 
at  Kreuzschule  1785;  composed  so- 
natas, cantatas,  etc.  Nephew  and 
pupil  Christian  Theodor  W.  (1780- 
1842),  was  cantor  at  Bologna,  Dres- 
den, and  Leipzig;  teacher  of  theory 
to  Richard  Wagner;  wrote  a  Magni- 
ficat, and  Anleitung  zur  Fuge. 

Weinzierl  (vln-zerl),  Max,  Ritter  von, 
compr.  b.  Bergstadtl,  Bohemia,  Sept. 
16,  1841;  d.  Modling,  near  Vienna, 
July  10,  1898.  Capellmeister  at 
Vienna  theatres,  chorusmaster  of 
Mannergesangverein ;  artistic  dir.  of 
singakademie;  composed  operettas 
(Don  Quixote,  etc.),  psalm,  oratorio, 
part-songs,  etc. 

Weiss  (vis),  Julius,  vln.  teacher,  writer. 
b.  Berlin,  July  19,  1814.  Pupil  of 
Henning  and  Rungenhagen;  music 
selling  business  established  by  father 
descended  to  him  in  1852;  published 
instructive  vln.  pieces,  critical  works. 


WEITZMANN 


WESTPHAL 


Weitzmann  (vltz'-man),  Karl  Fried- 
rich,  teacher,  author,  b.  Berlin,  Aug. 
10,  1808;  d.  there,  Nov.  7,  1880. 
Pupil  of  Henning,  Klein,  Spohr,  and 
Hauptmann;  chorusmaster  and  vlt. 
at  Riga  Th.,  at  Reval  1836;  leader  of 
Imp.  Orch.,  St.  Petersburg,  and  ch. 
mus.  dir.  there;  after  study  in  libra- 
ries of  Paris  and  London,  settled  in 
Berlin  as  teacher;  friend  of  Liszt; 
wrote  3  operas,  books  of  studies,  on 
counterpoint,  etc.,  on  Greek  mus., 
and,  most  notably,  Geschichte  des 
Klavierspiels  und  der  Klavierliteratur 
(trans.). 

Wellings,  Joseph  Milton,  compr.  b. 
Handsworth,  Staffordshire,  Dec.  4, 
1850.  Compr.  of  a  "sketch,"  The 
Dancing  Master  (produced  London 
1894),  other  larger  works,  and  many 
popular  songs  (At  the  Ferry,  Some 
Day,  Only  a  Rose,  etc.) . 

Wendling  (vend'-ling),  Carl,  vlt.  b. 
Strassburg,  Aug.  10,  1875.  Pupil 
of  Schuster  at  Strassburg  Cons.,  of 
Joachim  and  Halir  at  Berlin;  con- 
certmaster  1899-1903  at  Meiningen 
and  Stuttgart;  of  Boston  symph. 
orch.  1907-08;  of  Festival  orch.  at 
Bayreuth;  now  at  Stuttgart. 

Wenzel  (vent'-sel),  Ernst  Ferdinand, 
pst.  b.  Walddorf,  Saxony,  Jan.  25, 
1808;  d.  Bad  Kosen,  Aug.  16,  1880. 
While  student  of  philosophy  at  Leip- 
zig was  pupil  of  Wieck  and  intimate 
with  Schumann;  frequent  contribu- 
tor to  Neue  Zeitschrift;  taught  pf .  at 
Leipzig  Cons.  1843-1880. 

Wert  (vart),  Jacob  van  [Jacques  or 
Giaches  de],  compr.  b.  Netherlands, 
1536;  d.  Mantua,  May  23,  1596. 
Going  to  Italy  when  young,  became 
maestro  to  Duke  of  Mantua  about 
1566,  later  at  Ch.  of  Sta.  Barbara; 
prolific  compr.  of  madrigals,  motets, 
etc. 

Wesley,  Samuel,  orgt.  b.  Bristol,  Eng., 
Feb.  24,  1766;  d.  London,  Oct.  11, 
1837.  Son  of  hymn  writer,  and 
nephew  of  the  famous  Methodist; 
pupil  of  brother  Charles  W.  (1757- 
1834);  amazingly  precocious  vlt. 
and  orgt.;  injury  to  head  caused 
frequent  attacks  of  nervous  disease 
during  his  life  and  prevented  work 
altogether  after  1830;  condr.  Bir- 
mingham Festival;  greatest  Eng. 
orgt.  of  his  day  both  in  improvising 


and  in  playing  works  of  Handel 
and  Bach;  influential  in  introducing 
works  of  latter  to  England;  pub- 
lished edition  of  Wohltemperirte  Kla- 
vier  1810;  composed  much  church 
music,  sonatasj  marches  for  pf.,  etc.; 
wrote  also  Letters  to  Mr.  Jacobs  about 
Bach.  His  son  Samuel  Sebastian, 
orgt.,  compr.  b.  London,  Aug.  14, 
1810;  d.  Gloucester,  Apr.  19,  1876. 
Chorister  at  Chapel  Royal;  orgt.  at 
several  London  churches  (at  one 
time  at  4  simultaneously),  at  Here- 
ford Cath.  1832-34,  at  Exeter  Cath. 
1835,  at  Leeds  Parish  Ch.  1842,  Win- 
chester Cath.  1849,  Gloucester  Cath. 
1865;  condr.  there  of  Three  Choirs 
Festival;  Mus.  Doc.  Oxford;  one  of 
best  of  Eng.  church  comprs.;  wrote 
anthems  (especially  vol.  of  12),  ser- 
vices, songs,  and  glees;  in  every- 
thing his  music  was  distinguished 
by  exquisite  appropriateness;  his 
church  music  had  good  influence  on 
contemporaries  through  dignity  and 
loftiness  of  tone  and  its  combination 
of  old  form  with  original  harmonies. 

West,  John  Ebenezer,  orgt.,  compr.  b. 
Hackney,  London,  Dec.  7,  1863. 
Son  of  William  W.  compr.  and  Clara 
soprano;  studied  at  Royal  Acad. 
with  Bridge  and  Prout;  orgt.  and 
choirmaster  at  St.  Mary's;  adviser 
to  Novello,  Ewer  &  Co.;  composed 
cantatas,  incidental  music  to  King 
Robert  of  Sicily,  overture,  org.  music, 
etc. 

Westbrook,  William  Joseph,  orgt.  b. 
London,  Jan.  1,  1831;  d.  Sydenham, 
Mar.  24,  1894.  Pupil  of  Temple; 
several  appointments  as  orgt.;  condr. 
S.  Norwood  Mus.  Soc.  1865-78;  Mus. 
Doc.  Cambridge  1878;  founder,  with 
Hammond  and  Crowdy,  of  Musical 
Standard;  comp.  oratorio,  cantata, 
services,  etc.;  translated  vln.  meth- 
ods of  Alard,  De  Beriot,  and  Dancla; 
wrote  Organ  Tutor,  Alphabet  of  Mus. 
Notation,  etc. 

Westphal  (vest'-fal),  Rudolf  Georg  Her- 
mann, writer,  b.  Oberkirchen,  Lip- 
pe-Schaumburg,  July  31,  1826;  d. 
Stadthagen,  July  11,  1892.  Stud- 
ied philology  at  Marburg;  lecturer 
at  Tubingen,  prof,  at  Breslau,  Jena, 
Moscow;  after  1880  lived  in  Leipzig 
and  Stadthagen;  wrote  many  books 
on  rhythm  and  metre,  especially  that 
of  the  Greeks;  differed  from  other 


WETZLER 


WIDOR 


writers  in  conclusion  that  Greek 
music  was  polyphonic,  an  opinion 
which  he  himself  finally  abandoned. 

Wetzler  (vetz'-ler),  Hermann  Hans, 
orgt.,  condr.  b.  Frankfort-on-Main, 
Sept.  8,  1870.  Studied  pf.  with  j 
Clara  Schumann,  comp.,  etc.  with  B.  [ 
Scholz,  Knorr,  and  Humperdinck; 
came  to  N.  Y.  1893;  orgt.  at  Trinity 
Ch.  1897-1901;  conducted  orch.  con- 
certs 1902,  founded  W.  Symph.  Con- 
certs (Lichtenberg  condr.)  1903-05; 
since  then  in  Hamburg.  Composed 
for  pf.,  concert  overture,  symph. 
poem. 

White,  Maude  Valerie,  compr.  b.  Di- 
eppe, June  23,  1855.  Studied  with 
May  and  Rockstro,  and  at  Roy. 
Acad.,  where  she  won  Mendelssohn 
scholarship,  and  in  Vienna;  com- 
posed mass  and  pf.  music,  and  is 
ranked  very  high  among  women 
comprs.  in  England  because  of  songs 
(especially  settings  of  Shelley),  not 
only  for  beauty  of  music  but  because" 
of  regard  to  words. 

Whiting,  Arthur  Battelle,  pst.  b.  Cam- 
bridge, Mass.,  June  20,  1861.  Pupil 
of  Sherwood,  Chadwick,  J.  C.  D. 
Parker,  and  at  Munich  Mus.  Sch. 
of  Rheinberger;  after  some  years  in 
Boston,  settled  in  New  York  as  pst. 
and  teacher;  gives  frequent  recitals 
and  plays  with  Kneisel  and  other 
quartets;  has  given  at  Harvard  and 
elsewhere  illustrated  lectures  on 
chamber  music;  compositions  (song- 
cycle  Floriana,  chamber  mus.,  over- 
ture, suite  for  string  orch.  and 
horn  quartet,  fantasia  for  pf.  and 
orch.),  noteworthy  for  intelligent 
construction,  show  gain  in  expres- 
sive feeling;  has  published  a  book 
on  the  use  of  the  piano  pedals. 


Whiting,  George  Elbridge,  orgt.,  compr.  J 
b.  Holliston,  Mass.,  Sept.  14,  1842.  ! 
Played  at  Worcester,  Hartford  j 

.  (where  he  founded  Beethoven  Soc.), 
and  at  Boston;  after  study  with 
G.  W.  Morgan  in  N.  Y.  and  Best  in 
Liverpool,  and  later  with  Haupt  and 
Radecke  at  Berlin,  taught  at  N.  E. 
Cons.,  Boston,  resigning  1897;  at 
Cincinnati  Coll.  of  Mus.  1878-83; 
again  at  X.  E.  Cons.;  orgt.  Church 
of  Immaculate  Conception,  Boston, 
1876-78,  and  1883-1910;  composed 
organ  sonata  and  other  pieces  for  the 


instrument,  church  music,  masses, 
a  festival  Te  Deum,  cantatas,  of  which 
The  Tale  of  the  Viking  and  Henry  of 
Navarre  are  best  known,  a  symph., 
an  overture  and  concerto. 

Whitney,  Myron  William,  bass.  b. 
Ashby,  Mass.,  Sept.  5,  1836;  d. 
Sandwich,  Mass.,  Sept.  19,  1910. 
Studied  with  Frost,  Randegger,  and 
Vannuccini;  d6but  as  oratorio  singer, 
Boston,  1858;  success  in  oratorio, 
sang  also  with  Boston  Ideal  Co.  in 
opera;  retired  1900. 

Whitney,  Samuel  Brenton,  orgt.  b. 
Woodstock,  Vt.,  June  4, 1842.  Pupil 
of  Wels  in  N.  Y.,  of  Paine  in  Cam- 
bridge; orgt.  at  Appleton  Chapel, 
Cambridge,  and  at  Ch.  of  the 
Advent,  Boston,  1871-1908;  one  pf 
earliest  to  establish  boy  choir  in 
America;  organized  festivals  of  par- 
ish choirs;  founded  class  in  church 
music  at  X.  E.  Cons.;  composed 
many  services,  processionals,  etc. 

Wichtl  (viktl),  Georg,  vlt.  b.  Trost- 
berg,  Bavaria,  Feb.  2,  1805;  d.  Bunz- 
lau,  Silesia,  June  3,  1877.  Studied 
at  Munich;  member  of  Th.  orch.; 
1st  vlt.  in  court  orch.  at  Lowen- 
burg,  Silesia;  mus.  dir.  and  capellm. 
there;  retired  on  pension  1863;  to 
Breslau  1870,  then  to  Bunzlau; 
comp.  opera,  oratorio,  melodrama, 
mass,  and  songs,  orch.  mus.,  con- 
certo, method,  and  many  instructive 
pieces  for  vln. 

Wickede  (vik'-6-d6),  Friedrich  von, 
compr.  b.  D6mitz-on-Elbe,  July  28, 
1834;  d.  Schwerin,  Sept.  11,  1904. 
Army  officer,  then  official  in  post- 
office;  pupil  in  mus.  of  J.  Vieth; 
after  1872  composing  in  Leipzig  and 
Munich;  wrote  opera,  funeral  march 
forEmp.  Wm.  I,  overture  Per  aspera 
ad  astra,  and  notable  songs. 

Widor  (vi'-d5r),  Charles  Marie,  orgt., 
compr.  b.  Lyons,  Feb.  21,  1844. 
Son  of  orgt.,  pupil  of  Lemmens  and 
Fe'tis  at  Brussels;  orgt.  at  Lyons 
1860-69,  at  St.  Sulpice,  Paris,  1870; 
prof,  of  org.  at  Cons.  1890,  of  coun- 
terpoint and  fugue  1896;  critic; 
elected  member  of  Academy  1910; 
has  composed  operas,  ballets  ( La  Kor- 
rigane  was  popular),  masses,  psalms, 
symphonies  for  orchestra,  etc.,  but 
most  original  works  are  10  organ 


WIECK 


WILHELMJ 


"symphonies"  (Gothique,  etc.);  wrote 
also  Technique  of  Modern  Orch.  (sup- 
plement to  Berlioz). 
Wieck  (vek),  Friedrich,  pst.,  teacher. 
b.  Pretzsch,  near  Wittenberg,  Aug. 
18,  1785;  d.  Loschwitz,  near  Dres- 
den, Oct.  6,  1873.  Student  of 
theology,  private  tutor,  founder  of 
pf.  factory  and  circulating  library 
of  mus.  at  Leipzig;  distinguished  as 
pf.  teacher;  among  pupils  his  daugh- 
ter Clara  and  her  husband  R.  Schu- 
mann, Von  Biilow,  Krause,  etc.; 
after  1840  in  Dresden  taught  singing 
also;  published  pf.  studies,  etc. 

Wiegand  (ve'-gant),  Josef  Anton  Hein- 
rich,  dram.  bass.  b.  Frankisch- 
Krumbach,  Odenwald,  Sept.  9,  1842; 
d.  Frankfort,  May  28,  1899.  In 
business  in  Paris,  took  lessons  in 
singing;  member  of  opera  at  Zurich 
1870,  Cologne,  Frankfort  1873-77, 
Leipzig  1878-82,  Vienna  1882-84, 
Hamburg  1884-90,  Munich  1890-97; 
sang  in  America  1877,  at  Bayreuth 
1886;  became  insane  1897. 

Wiehmayer  (ve'-mi-er),  Johann  Theo- 
dor,  pst.  b.  Marienfeld,  Westpha- 
lia, Jan.  7,  1870.  Pupil  at  Leipzig 
Cons,  of  Jadassohn,  Reinecke  and 
Coccius,  and  of  M.  Krause;  de"but 
Leipzig  1890;  after  tour  in  Sweden, 
settled  as  teacher  in  Leipzig,  after 
1902  at  Cons.;  now  at  Stuttgart; 
compositions  for  pf.,  special  studies, 
Schule  der  Finger-Technik,  Ton- 
leiterschide,  etc. 

Wieniawski  (vyen-yaf'-ski),  Henri,  vlt. 
b.  Lublin,  Poland,  July  10,  1835;  d. 
Moscow,  Apr.  12,  1880.  Pupil  at 
Paris  Cons,  of  Clavel  and  Massart 
(1st  prize  1846),  and,  after  concerts 
in  Russia,  of  Colet  in  harmony;  after 
long  tours  in  Europe  with  brother 
Joseph,  solo  vlt.  to  Czar  1860-72; 
prof,  at  St.  Petersburg  Cons.  1862- 
67;  played  in  U.  S.  with  Rubinstein 
1872;  prof,  at  Brussels  Cons.  1874- 
77;  composed  2  vln.  concertos,  Le- 
gends (very  popular),  Phantasie  on 
Faust,  La  carnaval  russe,  Etudes, 
etc.;  technical  ability  was  very  great; 
he  was  accused  of  lack  of  taste  in  dis- 
play of  it  and  of  falling  short  in  mat- 
ter of  expressiveness.  His  brother, 

Wieniawski,  Joseph,  pst.  b.  Lublin, 
May  23,  1837.  Pupil  at  Paris  Cons, 
of  Zimmermann,  Marmontel,  and 


Alkan,  after  tour  with  Henri  of 
Liszt  at  Weimar,  and  of  Marx  at 
Berlin;  taught  at  Moscow  Cons. 
1865-69,  and  founded  pf.  sch.  there; 
director  Warsaw  Soc.  1875-76; 
teacher  in  Brussels  Cons.;  composed 
pf.  concerto,  waltzes,  polonaises,  and 
mazurkas  for  pf. 

Wietrowetz  (vye'-tro-vetz),  Gabrielle, 
vlt.  b.  Laibach,  Carniola,  Jan.  13, 
1866.  Studied  with  Casper  and 
Joachim,  winning  Mendelssohn  Prize 
at  Berlin;  de"but  Miinster  1885;  tours 
in  Europe;  1st  woman  to  teach  at 
Berlin  Hochschule. 

Wih'tol,  Josef,  compr.  b.  Wolmar, 
Livonia,  July  26,  1863.  Studied  at 
Mitau,  at  St.  Petersburg  Cons,  with 
Jadassohn  and  Rimsky-Korsakov; 
prof,  of  harm,  there  since  1886,  at 
mus.  sch.  since  1897;  mus.  editor  of 
St.  P.  paper;  composed  symph.  poem, 
dramatic  overture,  symph.,  quartet, 
pf.  pieces;  named  by  Pougin  among 
more  original  of  modern  Russians. 

Wilbye,  John,  compr.  b.!573(?).  Prob- 
ably teacher  of  mus.;  perhaps  lute 
player;  composed  two  sets  of  mad- 
rigals of  exceptional  charm;  orgt.  in 
London  1598;  contributed  to  Tri- 
umphs of  Oriana. 

Wild,  Harrison  M.,  orgt.,  condr.  b.  at 
Hoboken,  N.  J.,  Mar.  6,  1861. 
Educated  at  Dyrenfurth  College; 
studied  at  Leipzig,  with  Zwintscher, 
Rust,  and  Richter;  began  professional 
work  in  Chicago  at  fourteen  years 
of  age;  organist  at  Unity,  Ascension, 
and  Grace  churches;  conductor  of 
Apollo  Club  and  Mendelssohn  Club, 
Chicago,  and  Mendelssohn  Club, 
Rockford,  111.;  lives  (1910)  in 
Chicago. 

Wilhelm  (vil'-helm),  Carl,  compr.  b. 
Schmalkalden,  Sept.  5,  1815;  d. 
there,  Aug.  26,  1873.  Pupil  of  Bott, 
Spohr,  Andr6,  and  A.  Schmitt;  di- 
rector of  Krefeld  Liedertafel  for 
which  he  wrote  Die  Wacht  am  Rhein, 
first  publ.  1854,  for  which  he 
received  pension  1870. 

Wilhelmj  (vil-hel'-my),  August  Emil 
Daniel  Ferdinand,  vti.  b.  Usingen, 
Nassau,  Sept.  21,  1845;  d.  London, 
Jan.  22,  1908.  Pupil  of  Fischer; 
d£but  at  8;  introduced  to  David  by 
Liszt,  became  D's  pupil  at  Leipzig 


WILHEM 


WINDERSTEIN 


Cons.,  also  studying  with  Haupt- 
mann  and  Richter;  after  further 
study  with  Raff,  made  tours  to 
Switzerland  1865,  then  all  over 
Europe,  to  America  (1871-74,  1878), 
and  4  years'  trip  around  the  world 
1878-82;  leader  Bayreuth  orch.  at 
production  of  Nibelungen  Ring  1876; 
founded  vln.  sch.  with  Niemann  at 
Biebrich-on-Rhine;  1894  prof,  at 
Guildhall,  London;  arranged  tran- 
scriptions from  Wagner  and  pub- 
lished vln.  school. 

Wilhem  (vil'-em),  [real  name  Boc- 
quillon],  Guillaume  Louis,  condr.  b. 
Paris,  Dec.  18,  1781;  d.  there,  Apr. 
26,  1842.  Left  army  to  study  mus. 
at  Paris  Cons.;  applied  method  of 
"mutual  instruction,"  in  vogue  in 
French  schools,  to  teaching  of  mus.; 
1819  organized  system  for  mus. 
teaching  in  Paris  schools;  1820  dir. 
of  normal  schools;  1830  from  re- 
unions of  pupils  developed  Orpheons, 
popular  societies  for  choral  singing, 
quite  new  in  France  and  still  exist- 
ing; details  of  method  published  in 
many  manuals. 

Willaert  (vil'-lart),  Adrian,  compr.  b. 
Bruges  (?),  Flanders,  about  1480; 
d.  Venice,  Dec.  7,  1562.  Pupil  of 
Jean  Mouton  and  Josquin  Depr6s; 
in  Rome  1516,  and  Ferrara;  in  service 
of  Ludovic  II  of  Bohemia;  maestro 
at  St.  Mark's,  Venice,  after  1527;  at 
his  mus.  school  taught  De  Rore, 
Gabrieli,  etc.;  founder  of  Venetian 
school  of  comp.,  generally  character- 
ized by  richer,  broader  effects  in 
place  of  puzzling  detail;  creator  of 
style  of  writing  for  2  choirs. 

Willeby,  Charles,  compr.  b.  Paris, 
Aug.  4,  1865.  Studied  with  Lam- 
perti;  has  written  a  number  of  suc- 
cessful songs. 

Williams,  Charles  Francis  Abdy,  writer. 
b.  Dawlish,  July  16,  1855.  Edu- 
cated Sherburne  and  Cambridge; 
studied  in  Leipzig;  compr.  of  music 
for  Greek  plays  at  Bradford  Coll. 
1895,  1898,  1900,  hymns,  anthems, 
etc.;  author  of  lives  of  Bach  and 
Handel,  Story  of  Musical  Notation, 
Story  of  Organ,  and  Story  of  Organ 
Music. 

Willis,  Richard  Storrs,  compr.,  writer. 
b.  Boston,  Feb.  10,  1819;  d.  Detroit, 
May  7,  1900.  Brother  of  N.  P. 


Willis;  composed  for  orch.  while  a 
Yale  student;  pupil  of  Schnyder  von 
Wartensee  and  Hauptmann;  jour- 
nalist in  N.  Y.,  editor  of  Mus.  World 
and  other  magazines  and  compr.  of 
Ch.  Chorals,  Student  Songs,  Waif 
of  Song  (patriotic  songs),  author  of 
poems  Pen  and  Lute. 

Wilm  (vilm),  Nicolai  von,  pst.,  compr. 
b.  Riga,  Mar.  4,  1834.  Studied  at 
Leipzig  Cons,  with  Hauptmann, 
Plaidy,  etc.;  2d  capellmeister  Riga 
1857-58;  teacher  of  pf.  and  theory  at 
Imperial  Nicolai  Inst.  at  St.  Peters- 
burg 1860-75;  lived  in  Dresden, 
since  1878  in  Wiesbaden;  composed 
chamber  mus.,  suites  for  pf.,  4  hands, 
and  popular  pf.  solos  (10  Character- 
stiicke,  etc.). 

Wilson,  Grenville  Dean,  teacher,  compr. 
b.  Plymouth,  Conn.,  Jan.  26,  1833; 
d.  Nyack,  N.  Y.,  Sept.  20,  1897. 
Pupil  of  mother,  Donheim,  and  A. 
W.  Johnson;  taught  in  Lenox,  New 
York,  Saratoga,  and  at  Lasell  Semi- 
nary, Auburndale,  Mass.;  in  charge 
of  mus.  dept.  Rockland  Inst.,  Ny- 
ack, 1871;  founder  of  Nyack  Symph. 
and  Choral  Societies;  composed 
many  songs  and  popular  pf.  pieces 
(Chapel  in  the  Mountains,  etc.). 

Wilson,  John,  lute  player,  b.  Favers- 
ham,  Kent,  Apr.  5,  1594;  d.  West- 
minster, Feb.  22,  1673.  Mus.  Doc. 
Oxford  1644;  prof,  of  mus.,  Oxford, 
1656-62;  gentleman  of  Chapel  Royal, 
musician  to  Charles  II;  wrote  Psal- 
terium  Carolinum,  on  sufferings  of 
Charles,  Cheerful  Ayres,  etc.,  music 
to  some  of  Shakespeare's  songs,  Sigh 
no  more,  etc.;  identity  with  actor 
questioned.  [Rimbault:  Who  was 
Jack  Wilson?] 

Wilson,  Mrs.  W.,  see  Hopekirk,  Helen. 

Winderstein  (vin-der-stln),  Hans  Wil- 
helm  Gustav,  condr.  b.  Liineberg, 
Hanover,  Oct.  29,  1856.  Pupil  of 
Schradieck,  Hermann,  Richter  and 
Rust  at  Leipzig  Cons.;  member  of 
Gewandhaus  Orch.,  of  private  orch. 
at  Nice  1880-84;  vln.  teacher  at 
Winterthur  Cons. ;  condr.  at  Nurem- 
berg; director  of  Kaim  Concerts  and 
PhUh.  Orch.,  Munich,  1893-96;  or- 
ganized W.  Orch.,  Leipzig,  1896, 
Philh.  concerts  there  and  at  Halle; 
condr.  Leipzig  Singakademie  1898; 
composed  few  orch.  and  vln.  works. 


WINDING 


WOLF-FERRARI 


Winding,  August  (Henrik),  pst.,  compr. 
b.  Taars,  Denmark,  Mar.  24,  1835. 
Studied  at  Copenhagen,  with  Rein- 
ecke  and  Re"e,  at  Prague  with  Drey- 
schock,  and  with  Gade  at  Copen- 
hagen; dir.  of  Copenhagen  Cons.; 
compositions  mostly  for  piano,  and 
chamber  music. 

Winkelmann  (vin'-kel-man),  Hermann, 
dram,  tenor,  b.  Brunswick,  Mar.  8, 
1849.  Studied  with  Koch  at  Han- 
over; de"but  Sondershausen  1875; 
sang  at  Altenburg,  Darmstadt,  Ham- 
burg, and  Vienna  after  1883;  sang 
Parsifal  at  Bayreuth  1882.  Another 
of  same  name,  teacher  at  Raff  Cons. 
and  orgt.  Frankfort;  d.  Mar.  11, 1899. 

Winogradsky  (ve-no-grad'-ski),  Alex- 
ander Nicolaievitch,  condr.  b.  Kiev, 
Russia,  Aug.  3,  1854.  Pupil  of 
Soloviev  at  St.  Petersburg  Cons.;  dir. 
Imp.  Sch.  of  Mus.  at  Saratov  1884- 
86;  pres.,  dir.,  and  condr.  of  Imp.  Soc. 
of  Mus.  at  Kiev  after  1888;  condr. 
Russian  programs  in  Paris  1894  and 
1896. 

Winter  (vin'-ter),  Peter  von,  compr. 
b.  Mannheim,  1754;  d.  Munich,  Oct. 
17,  1825.  Pupil  of  Abt  Vogler;  vlt. 
in  Electoral  Orch.,  dir.  court  theatre; 
court  capellmeister  at  Munich  after 
1788;  in  frequent  leaves  of  absence 
produced  operas  in  Italy,  Paris, 
and  London;  most  successful  operas 
were  Das  unterbrochene  Opferfest 
1796,  Marie  von  Montalban  1798;  his 
Labyrinth  is  sequel  to  Magic  Flute 
of  Mozart,  whom  W.  violently  dis- 
liked; mus.  entertaining  but  not 
learned. 

Winterberger  (vin'-ter-bar-ger),  Alex- 
ander, pst.  b.  Weimar,  Aug.  14, 
1834.  Studied  at  Leipzig  Cons,  and 
with  Liszt;  in  Vienna  1861-69;  pf. 
prof,  at  St.  Petersburg  Cons.  1869- 
72;  then  in  Leipzig;  compr.  of  origi- 
nal pf.  mus.,  songs,  editor  of  Liszt's 
Technical  Studies. 

Wirth  (vlrt),  Emanuel,  vlt.  b.  Luditz, 
Bohemia,  Oct.  18,  1842.  Pupil  of 
Kittl  and  Mildner  at  Prague  Cons.; 
concertmaster  Baden-Baden;  J;each- 
er  at  Rotterdam  Cons.,  orch.  leader 
1864-77;  viola  player  in  Joachim 
Quartet,  in  place  of  Rappoldi  1877; 
prof,  at  Berlin  Hochschule;  remark- 
able vlt.,  has  also  acquired  distinction 
in  viola  playing. 


Witek  (vtt-gk),  Anton,  vlt.  b.  Saaz, 
Bohemia,  Jan.  7,  1872.  Pupil  at 
Prague  of  Bennewitz;  1894-1910 
concertmaster  of  the  Philharmonic 
Orch.,  Berlin;  1910  concertmaster 
Boston  Symphony  Orch.;  has  given 
many  concerts  in  European  music 
centers  and  is  highly  esteemed  as  a 
chamber  music  player;  1903  organ- 
ized Berlin  Philharmonic  Trio,  with 
Joseph  Malkin  'cellist  and  Mrs.  Witek 
(nee  Vita  Gerhardt)  a  Danish  pianist. 

Wohlfahrt  (vol'-fart),  Heinrich,  teacher. 
b.  Kossnitz,  near  Apolda,  Dec.  16, 
1797;  d.  Connewitz,  near  Leipzig, 
May  9,  1883.  Studied  with  Haser 
at  Weimar;  cantor  and  tutor  in  va- 
rious towns;  teacher  at  Jena  and 
Leipzig;  author  of  Kinder-Clavier- 
schule,  Theoretisch-praktische  Mod- 
ulationsschule,  and  instructive  pieces 
especially  for  children. 

Wolf  (volf),  Hugo,  compr.  b.  Win- 
dischgratz,  Styria,  Mar.  13,  1860;  d. 
Vienna,  Feb.  22,  1903.  Self-taught, 
except  for  one  year  at  Vienna  Cons, 
whence  he  was  dismissed  for  dis- 
obedience to  rules;  once  thought  of 
emigrating  to  America  but  aban- 
doned idea;  2d  capellmeister  at  Salz- 
burg for  short  time  in  1880;  mus. 
critic  for  Wiener  Salonblatt  1884-88; 
most  fruitful  period  of  life  ten  years 
after  1886;  became  insane  in  1897 
and  had  only  brief  periods  of  con- 
valescence after  that;  composed  op- 
era Der  Corregidor  produced  1896, 
mus.  to  Ibsen's  Fest  im  Solhaug, 
symph.  poem  Penthesilea,  etc.;  but 
widespread  enthusiasm  which  has 
led  to  formation  of  Hugo-Wolf- Ve- 
rein,  publication  of  life,  letters,  and 
his  works  rests  upon  his  songs  Mori- 
kelieder,  Goethe-Cydus,  Spanisches 
Liederbuch,  Italienisches  Liederbuch, 
etc.;  his  songs  carry  the  principle  of 
absolute  truth  to  the  words  to  ex- 
treme; the  accomp.  fixes  the  mood, 
and  explains  the  voice  part. 

Wolf -Ferrari  (volf-fer-ra'-re),  Ennan- 
no,  compr.  b.  Venice,  Jan.  12,  1876. 
Son  of  painter;  self-taught  until  en- 
trance at  Munich  Sch.  1893  as  pupil 
of  Rheinberger;  director  since  1902 
of  Liceo  Benedetto  Marcello  at  Ven- 
ice; noteworthy  opera  compr.  (La 
Sulamita,  Cenerentola  1900,  Le  dnnne 
curiose,  etc.,  and  oratorio  La  vita 
nuova  1903;  also  chamber  music. 


WOLFL 


WORMSER 


Wolfl  (velfl),  Joseph,  compr.  b.  Salz- 
burg, 1772;  d.  London,  May  21, 
1812.  Pupil  of  L.  Mozart  and  M. 
Haydn;  so  distinguished  as  pst.  that 
he  was  called  superior  to  Beethoven 
and  Mozart;  lived  Warsaw  1792-94, 
Vienna  1794-98;  tour  to  Paris  1801; 
on  tour  with  Ellmenreich,  obliged  on 
account  of  E's  faults  to  flee  to  Brus- 
sels and  London;  published  concer- 
tos, pf.  works,  operas. 

Wolle  (wol'-la),  John  Frederick,  condr. 
b.  Bethlehem,  Pa.,  Apr.  4,  1863. 
Educated  at  Moravian  Coll.  and 
Theol.  Seminary;  teacher  of  mus. 
1879;  orgt.  1881-84;  pupil  of  Rhein- 
berger  at  Munich  1884-85;  orgt.  at 
Bethlehem  1885-1905,  at  Lehigh 
Univ.  1887-1905;  organized  Bethle- 
hem Choral  Union  1882;  conducted 
Bach  Festivals,  1900,  1901,  1903; 
now  prof.  mus.  at  Univ.  of  Cali- 
fornia, and  dir.  of  symph.  concerts. 

Wollenhaupt  (vol'-len-haupt),  Her- 
mann Adolf,  pst.  b.  Schkeuditz,  near 
Leipzig,  Sept.  27,  1827;  d.  New 
York,  Sept.  18, 1863.  Pupil  of  Knorr 
and  Hauptmann  at  Leipzig;  after 
1845  taught  and  played  in  New 
York;  European  concerts  1855; 
composed  about  100  effective  works 
for  pf. 

Wolstenholme,  William,  orgt.  b. 
Blackburn,  Feb.  24,  1865.  Blind 
from  birth;  educated  at  Worcester 
College  for  Blind;  studied  mus.  with 
Dr.  Done;  early  appearances  in  Wor- 
cester; Mus.  B.  Oxford  1887;  orgt., 
teacher  after  1888  at  Blackburn; 
American  tour  1908;  composed  can- 
tata Lord  Ullin's  Daughter,  songs, 
org.  and  pf .  pieces. 

Wolzogen  (volt'-zo-gen) ,  [und  Neu- 
haus],  Hans  Paul,  Freiherr  von, 
writer,  b.  Potsdam,  Nov.  13,  1848. 
Student  of  mythology  and  philology 
at  Berlin;  wrote  in  Potsdam;  sum- 
moned by  Wagner  to  edit  Bayreuther 
Blatter  1877,  published  many  the- 
matic guides  to  operas  as  well  as 
pamphlets  supporting  theories  of 
Wagner  whom  he  ardently  admired. 

Wood,  Henry  Joseph,  condr.  b.  Lon- 
don, Mar.  3,  1870.  Precocious  pst. 
and  orgt.;  appeared  as  orgt.  at  ex- 
hibitions 1883  and  '85;  pupil  of  Prout, 
Macfarren,  etc.,  at  Royal  Acad.; 
some  success  as  compr.  of  songs, 


cantatas,  etc.;  condr.  with  Rousbey 
Co.  1890,  asst.  at  Savoy  under  Cel- 
lier,  condr.  at  several  operatic  per- 
formances; gave  lessons  in  singing 
and  held  opera  classes;  1895  gave 
Promenade  Concerts  with  selected 
band,  since  1896  Symphony  Con- 
certs, at  which  most  distinguished 
condrs.  have  appeared  as  guests; 
conducted  in  Paris,  Berlin,  and  N.  Y. 
1904;  as  condr.  less  successful  with 
sustained  classical  works  than  in 
modern  compositions  where  his 
vivacity  and  force  have  sway. 

Wood,  Mary  Knight,  compr.  b.  East- 
hampton,  Mass.,  Apr.  7,  1857.  Pu- 
pil of  Lang,  Parsons,  Cornell,  and 
Huss;  songs  are  noteworthy  for  un- 
expected effects;  Serenade,  AsJies  of 
Roses  are  popular;  also  wrote  pf. 
trio. 

Woodman,  Raymond  Huntington,  orgt., 
compr.  b.  Brooklyn,  Jan.  18,  1861. 
Pupil  of  father,  Buck,  and  C6sar 
Franck  at  Paris;  asst.  to  father,  orgt. 
on  Long  Island,  and  orgt.  himself  at 
Norwich,  Conn.,  and  in  New  York; 
editor  of  N.  Y.  Evangelist  1894y97; 
prof,  of  mus.  at  Packer  Inst.  since 
1894;  head  of  org.  dept.  Metropoli- 
tan Coll.  of  Mus.  1889;  composed 
excellent  works  for  pf .,  org.  and  voice. 

Woodward,  Rev.  Herbert  Hall,  compr. 
b.  at  The  Friars,  near  Liverpool,  Jan. 
13,  1847;  d.  London,  May  25,  1909. 
Educated  at  Oxford  and  Cuddeston 
Theol.  Seminary;  priest  at  Wantage; 
minor  canon  Worcester  Cath.  1881, 
precentor  1890;  composed  several 
services,  Te  Deum,  and  anthems  (The 
sun  shall  be  no  more  thy  light,  The 
radiant  morn  hath  passed  away),  etc. 

Woolf,  Benjamin  Edward,  critic,  compr. 
b.  London,  Feb.  16,  1836;  d.  Boston, 
Feb.  7,  1901.  Pupil  of  his  father, 
with  whom  he  came  to  America  in 
1839;  org.  pupil  of  W.  R.  Bristow, 
New  York;  condr.  theatres  in  Bos- 
ton, Philadelphia,  and  New  Orleans; 
dram,  and  mus.  critic  Boston  Globe, 
Gazette,  and  Herald;  compr.  of  sev- 
eral successful  operettas  (Westward 
Ho!  etc.);  author  of  play  Mighty 
Dollar. 

Wormser  (v5rm-zar),  Andre  Alphonse 
Toussaint,  compr.  b.  Paris,  Nov.  1, 
1851.  Pupil  at  Paris  Cons,  of  Mar- 
montel  and  Bazin;  1st  prize  for  pf. 


WORK 

playing  1872,  Grand  prix  de  Rome 
1875;  composed  overtures  and  suites 
for  orch.,  pf.  works,  ballets,  and 
pantomimes  (Diane  et  Endymion, 
and  notably  L' Enfant  prodigue  1890, 
which  was  also  given  in  London  1891, 
and  America  1893). 

Work,  Henry  Clay,  compr.  b.  Middle- 
town,  Conn.,  Oct.  1,  1832;  d.  Hart- 
ford, June  8,  1884.  Self-taught; 
compr.  of  songs  on  Northern  side  of 
Civil  War,  with  great  earnestness  of 
feeling  and  swing  that  made  them 
at  once  popular;  also  wrote  temper- 
ance songs  (Father  come  home,  etc.); 
best  known  song  is  Marching  through 
Georgia. 

Wouters  (vo'-tar),  Francois  Adolphe, 
compr.  b.  Brussels,  May  28,  1841. 
Pupil  at  Brussels  Cons.;  since  1871 
prof,  of  pf.  there;  also  orgt.  and 
compr.  of  3  solemn  masses,  3  short 
masses,  symph.  overture,  pf.  studies, 
etc. 

Woyrsch  (voirsh),  Felix  von,  compr. 
b.  Troppau,  Silesia,  Oct.  8,  1860. 
Self-taught,  except  for  some  lessons 
from  Chevallier  in  Hamburg;  condr. 
of  Singakademie  since  1895  and  orgt. 
at  Altona,  and  condr.  since  1903  of 
town  symph.  and  Volkskonzerte; 
composed  prolog  to  Dante's  Divine 
Comedy,  operas,  oratorios  and  choral 
works  (Passion  music,  Deutsche  Heer- 
bann,  etc.). 

Wrangell,  Wassili  Georgievitch, 
Baron,  compr.  b.  St.  Petersburg, 
June  25,  1862;  d.  there,  Mar.  10, 
1901.  Court  page  (retired  1883), 
pupil  of  Johannsen  at  St.  Peters- 
burg Cons.  1885-90;  editor Nouvellist 
1898-99;  composed  one  symphony, 
a  suite  for  orchestra,  music  to  plays, 
songs,  etc. 

Wranitzky  (vran-it'-skl),  Paid,  vlt., 
compr.  b.  Neureisch,  Moravia,  Dec. 
30,  1756;  d.  Vienna,  Sept.  28,  1808. 
Studied  in  Vienna  with  Krauss;  vlt. 
in  Esterhazy  Orch.  under  Haydn; 
capellmeister  Vienna  symph.  opera 
1785-1808;  composed  operas,  ballets, 
incidental  mus.,  chamber  mus.,  and 
27  symphonies  almost  as  popular  as 
Haydn's  at  the  time. 

Wrede  (vra'-da),  Ferdinand,  compr.  b. 
Brokel,  Hanover,  July  28,  1827;  d. 


WYMAN 

Frankfort-on-Oder,  Jan.  20,  1899. 
Pf.  pupil  of  Marschner,  Methfessel, 
and  Litolff;  cantor  at  Frankfort, 
condr.  of  Singakademie,  and  public 
school  singing  teacher;  compr.  of 
choruses,  etc. 

Wiillner  (vul'-ner),  Franz,  condr.  b. 
Munster,  Westphalia,  Jan.  28,  1832; 
d.  Braunfels  an  der  Lahn,  Sept.  7, 
1902.  Pupil  of  C.  Arnold,  Schind- 
ler,  Kessler,  Dehn,  and  Rungen- 
hagen,  and  at  Brussels,  Cologne,  and 
other  cities;  pf.  teacher  at  Munich 
Cons.  1856;  town  mus.  dir.  Aix-la- 
Chapelle  1858;  conducted,  with 
Rietz,  Rhine  Festival  1864,  also 
those  of  1882,  '86,  and  '90;  again  at 
Munich  condr.  court  chapel,  dir.  of 
choral  classes  in  sch.  of  mus.  1867; 
condr.  court  opera  and  acad.  con- 
certs 1869;  court  capellmeister  and 
artistic  dir.  cons,  at  Dresden  1877; 
condr.  Berlin  Philharmonic  1883-84; 
of  Giirzenich  concerts  at  Cologne 
and  dir.  of  cons.;  composed  some 
works  for  chorus,  distinguished  as 
teacher  and  condr. 

Wiillner,  Ludwig,  baritone,  b.  Mun- 
ster, Aug.  19,  1858.  Son  of  Franz 
W.  Educated  at  Munich,  Berlin, 
and  at  Strassburg;  Ph.D.;  1884- 
87  teacher  at  Munster  and  began  to 
study  music;  1889  began  career  as 
actor  at  Meiningen;  1895  made  tours 
as  reader,  and  in  1896  began  ap- 
pearances as  a  lieder  singer,  in  which 
his  splendid  intelligence  and  great 
gifts  in  interpretation  have  given 
him  world-wide  recognition;  espe- 
cially noted  as  ballad  singer  and  for 
his  renderings  of  Brahms'  songs. 

Wurm  (vorm),  Marie  J.  A.,  pst.  b. 
Southampton,  Eng.,  May  18,  1860. 
Pupil  of  Pruckner  and  Stark  at 
Stuttgart,  of  Mehlig,  Krebs,  Raff, 
and  Frau  Schumann,  and  of  Sullivan, 
Bridge,  etc.;  recitals  in  London, 
Berlin,  Meiningen,  etc.;  compr.  of 
concerto,  quartet,  sonata,  etc.  for  pf.; 
teacher  cons.  Hanover. 

Wyman,  Addison  P.,  compr.  b.  Corn- 
ish, N.  H.,  June  23,  1832;  d.  Wash- 
ington, Penn.,  Apr.  15,  1872.  Teach- 
er of  vln.  in  Wheeling,  W.  Va.; 
founder  of  mus.  sch.  at  Claremont, 
N.  H.,  1869;  compr.  of  pf.  pieces  such 
as  Silvery  Waves,  Woodland  Musings. 


YRADIER 


ZELTER 


Yradier  (e-ra-di-a),  Sebastian,  compr. 
d.  Vittoria,  1865.  Works  in  Span- 
ish style. 

Ysaye  (e-za-a'),  Eugene,  vlt.  b.  Li6ge, 
Belgium,  July  16,  1858.  Pupil  of 
father,  condr.  and  vlt.  at  Liege  Cons., 
and  at  Brussels  Cons,  of  Wieniawski 
and  Vieuxtemps,  and,  with  state 
aid,  of  Massart  at  Paris;  leader  in 


Bilse's  Orch.  Berlin  until  1881;  tours 
with  A.  Rubinstein;  in  Paris,  friend 
of  Franck;  prof,  at  Brussels  Cons. 
1886-97;  condr.  of  orchestra  founded 
by  himself  (Soci^te"  des  Concerts 
Ysaye)  since  1894;  as  player,  his 
technic  is  admirable,  but  subser- 
vient to  warm  emotional  expression; 
some  compositions  not  published,  in- 
cluding 6  violin  concertos. 


Zachau  (tsa'-kou),  Friedrich  Wilhelm, 
orgt.  b.  Leipzig,  Nov.  19,  1663;  d. 
Halle,  Aug.  14,  1712.  Orgt.  at 
Liebfrauenkirche  after  1684;  org. 
teacher  of  Handel;  some  org.  pieces, 
chorals,  etc.  have  been  published 
by  Breitkopf  and  Hartel. 

Zarembski  (tsa-remb'-ski),  Jules  de, 
pst.  b.  Shitomir,  Russian  Poland, 
Feb.  28,  1854;  d.  there,  Sept.  15, 
1885.  Pupil  of  Dachs  and  Liszt;  pf. 
prof,  at  Brussels  Cons,  after  1879; 
has  composed  concert  studies,  Sere- 
nade  burlesque,  etc. 

Zarlino  (tsar-le'-no) ,  Gioseffo,  theorist. 
b.  Chioggia,  Mar.  22,  1517;  d.  Ven- 
ice, Feb.  14,  1590.  Member  of 
Franciscan  order  1537;  studied  with 
Willaert  at  Venice  after  1541;  maes- 
tro di  cappella  at  St.  Mark's  1565 
till  death;  famous  in  his  day  as 
compr.,  but  only  few  compositions 
extant  (Modulationes,  Lectiones  pro 
Mortuis) ;  published  Instituzioni  Har- 
moniche  1558,  and  2  later  works, 
beside  pamphlets  on  other  subjects; 
he  gives  clear  statement  of  prin- 
ciples of  canon  and  elaborate  coun- 
terpoint; was  the  first  to  work  out 
distinction  between  the  major  and 
minor  as  types  of  harmonic  structure, 
theory  developed  later  by  Haupt- 
mann  and  others. 

Zarzycki  (tsar-tsits'-kp,  Alexander,  pst. 
b.  Lemberg,  Austrian  Poland,  Feb. 
21,  1831;  d.  Warsaw,  Nov.  1,  1895. 
Pupil  at  Lemberg  and  Paris;  success- 
ful concerts  on  the  Continent;  condr. 
Warsaw  Mus.  Soc.  1870;  dir.  Cons. 


there  after- 1879;  composed  concerto, 
polonaises,  etc.  for  pf. 

Zeckwer,  Richard,  teacher,  b.  Stendal, 
Prussia,  Apr.  30,  1850.  Educated 
at  gymnasium,  Stendal,  and  at  Univ. 
of  Leipzig;  musical  education  at 
Leipzig  Cons.,  under  Moscheles, 
Hauptmann,  E.  F.  Richter,  Pap- 
peritz  and  Reinecke;  grad.  there, 
1869;  came  to  U.  S.  1869;  began 
teaching  in  Phila.  Musical  Acad., 
1869;  became  its  prop'r  1876;  organ- 
ist at  Ch.  of  St.  Vincent  de  Paul, 
Germantown,  1871-78;  organist  Ca- 
thedral, Phila.,  1879-80;  lecturer  on 
acoustics  before  musical  societies 
and  at  Franklin  Inst.,  Phila.;  also 
at  Phila.  Acad.  Natural  Sciences; 
composer  of  songs  and  piano  com- 
positions, also  of  two  overtures, 
Festival  and  Bride  of  Messina; 
author  of  A  Scientific  Investigation 
of  Touch  1902. 

Zeisler,  see  Bloomfield-Zeisler,  Fanny. 

Zelter,  Carl  Friedrich,  condr.  b.  Ber- 
lin, Dec.  11,  1758;  d.  there,  May  15, 
1832.  Son  of  mason  and  intended 
for  same  trade;  but  after  study  with 
Kirnberger  and  Fasch,  became  lead- 
er in  Rellstab's  concerts;  member 
of  Singverein  (afterwards  Singakad- 
emie),  deputy  condr.,  condr.  1800; 
organized  Ripienschule  for  orch. 
practise  1807;  also  orgt.  Berlin  Lie- 
dertafel  1809,  first  of  such  male 
choral  societies;  founder  of  Roy. 
Inst.  for  Ch.  Mus.  1819,  dir.  until 
death;  noteworthy  for  large  corre- 
spondence with  Goethe,  as  theory 


ZEPLER 


ZOLLNER 


teacher  of  Mendelssohn,  and  for  im- 
portant songs  and  part-songs;  also 
wrote  oratorio,  requiem,  etc.,  and 
biog.  of  Fasch. 

Zepler,  Bogumil,  compr.  b.  Breslau, 
May  6,  1858.  Graduated  in  medi- 
cine at  Breslau;  mus.  pupil  of  H. 
Urban;  parody  on  CavaJleria  Rus- 
ticana  called  Cavatteria  Berolina, 
1891,  attracted  notice;  compr.  of  2 
or  3  other  operettas,  ballet,  songs, 
etc. 

Zerrahn  (zer-ran'),  Carl,  condr.  b. 
Malchow,  Mecklenburg,  July  28, 
1826;  d.  Milton,  Mass.,  Dec.  29, 
1909.  Studied  at  Rostock  with 
Weber,  and  at  Hanover  and  Berlin; 
came  to  America  1848  as  flute  player 
in  Germania  Orch. ;  condr.  of  Handel 
and  Haydn  Soc.,  Boston,  1854-95, 
of  Harvard  Mus.  Ass'n  concerts,  of 
Worcester  Festival,  Salem  Oratorio 
Society,  occasional  festivals  like 
Handel  and  Haydn  and  Peace  Jubi- 
lees; teacher  of  harmony  and  con- 
ducting at  N.  E.  Cons.;  not  so  highly 
trained  as  Th.  Thomas,  he  yet  ac- 
complished much  in  accustoming 
audiences  of  U.  S.,  esp.  Boston,  to 
good  orchestral  music  and  in  de- 
veloping taste  for  it. 

Zichy  (zitchy),  Geza,  Count,  pst.  b. 
Sztdra,  Hungary,  July  22,  1849. 
Lost  right  arm  at  17,  but  persisted, 
with  lessons  from  Mayrberger,  Volk- 
mann,  and  Liszt,  until  he  became 
amazing  virtuoso  with  left  hand; 
lawyer,  in  public  service,  gives  con- 
certs chiefly  for  charity;  pres.  of 
Hung.  Nat'l  Acad.,  intendant  of 
Pesth  Opera  1890-94;  composed  2 
operas,  cantata,  melodrama,  studies 
and  pieces  for  left  hand. 

Zielinski,  Jaroslaw  de,  pst.,  compr.  b. 
Galicia  (Austrian  Poland),  Mar.  31, 
1847.  Educated  at  gov't  school, 
Lemberg,  and  military  school,  Vi- 
enna, at  the  same  time  studying 
music  under  Mikuli,  Schulhoff,  Ce- 
rutti  and  Frye;  1863-64  engaged  in 
the  Polish  revolt  against  Russia; 
early  in  1864  came  to  U.  S.,  served 
in  Mass,  regiment  until  close  of  the 
Civil  War;  took  up  music  as  a  pro- 
fession, lived  in  New  York  City, 
Grand  Rapids.  Mich.,  Detroit,  «nd 
Buffalo,  1888-1910;  moved  to  Los 
Angeles  1910;  compositions  for  orch. 


and  pf . ;  has  contributed  many  articles 
to  magazines;  article  in  Century  Li- 
brary of  Music  on  The  Poles  in  Music. 

Zimmermann,  Agnes  Marie,  pst.  b. 
Cologne,  July  5,  1845.  Studied  at 
Royal  Acad.,  London,  with  Potter, 
Pauer,  Macfarren,  etc.;  twice  King's 
scholar;  de"but  London  1863,  Leip- 
zig 1864;  especially  excellent  in  play- 
ing classical  mus.,  some  of  whicn  she 
has  edited;  composed  vln.  sonatas, 
pf.  trio,  songs,  choruses,  and  nu- 
merous pf.  works. 

Zimmermann,  Pierre  Joseph  Guillaume, 
pf.  teacher,  b.  Paris,  Mar.  19,  1785; 
d.  there,  Oct.  29,  1853.  Son  of  pf. 
maker;  pupil  at  Cons,  of  Boieldieu, 
Rev,  Catel,  and  Cherubini;  1st  prize 
pf/  1800,  harmony  1802;  pf.  prof, 
there  1816-48;  among  pupils  were 
Alkan,  Marmontel,  etc.;  composed 
songs  and  variations,  romances,  etc. 
for  pf.;  great  work  is  Encyclopedic 
du  pianiste  (parts  1  and  2  pf.  method, 
part  3  harmony). 

Zingarelli,  Nicola  Antonio,  compr.  b. 
Naples,  Apr.  4,  1752;  d.  Torre  del 
Greco,  near  Naples,  May  5,  1837. 
Pupil  of  Fenaroli  and  Speranza  at 
Cons,  in  Naples;  produced  1st  opera 
1768,  but  had  not  much  success  be- 
fore Alsinda,  Milan,  1785;  wrote  27 
operas  before  1811  (most  famous 
Giulietta  e  Romeo,  Milan,  1796); 
maestro  at  Milan  Cath.  1792,  at 
Loreto,  at  St.  Peter's  Rome  1804; 
imprisoned  and  sent  to  Paris  1811 
for  refusing  to  conduct  Te  Deum  at 
birth  of  Napoleon's  son,  was  released 
by  N.;  dir.  royal  coll.  of  mus.  at 
Naples  1813,  maestro  at  Cath. 
1816;  Bellini,  Mercadante,  Morlacchi 
among  pupils;  composed  operas  and 
great  deal  of  church  music,  2  masses 
for  every  day  in  year,  etc. 

Zb'llner  (tseT-ner),  Heinrich,  compr. 
b.  Leipzig,  July  4,  1854.  First  in- 
tended for  law;  pupil  at  Leipzig  Cons, 
of  Reinecke,  Jadassohn,  Richter,  and 
Wenzel;  mus.  dir.  Dorpat  Univ.  1878; 
condr.  of  several  societies  and  teach- 
er at  Cons.,  Cologne,  1885;  took 
male  chorus  on  tour  to  Italy  1889; 
condr.  New  York  Deutscher  Lieder- 
kranz  1890;  dir.  mus.  Leipzig  Univ. 
1898,  and  condr.  Paulinerchor; 
teacher  of  comp.  at  L.  Cons.  1902. 
succeeding  Reinecke;  mus.  critic  of 


ZUMPE 


ZWINTSCHER 


Tageblatt;  1907  went  to  Berlin  as 
teacher  in  Stern  Cons.;  1908  at  Ant- 
werp as  dir.  Flemish  op.;  composed 
many  male  choruses,  cantatas,  etc., 
as  well  as  symph.,  orch.  episode,  etc. 

Zumpe  (tsom-pa),  Hermann,  condr., 
compr.  b.  Taubenheim,  Apr.  9, 
1850;  d.  Munich,  Sept.  4,  1903. 
Teacher  in  Weigsdorf  and  Leipzig; 
played  triangle  in  Stadt  Theatre, 
pupil  in  music  of  Tottmann;  helped 
Wagner  in  preparation  of  scores  of 
Nibdungen  Ring  at  Bayreuth  1873- 
76;  capellmeister  in  theatres  at  Salz- 
burg, Frankfort,  Hamburg,  etc.,  and 
after  few  years'  teaching,  court  ca- 
pellm.  at  Stuttgart  1891;  condr. 
Verein  fur  Klassische  Kirchenmusik 
1893;  court  capellm.  Munich  1895; 
court  capellm.  at  Schwerin  1897; 
resumed  position  at  Munich  1900; 
composed  operas,  overture,  songs. 


Zumsteeg  (tsom-stag'),  Johann  Rudolf, 
'cellist,  compr.  b.  Sachsenflur,  Od- 
enwald,  Jan.  10,  1760;  d.  Stuttgart, 
Jan.  27,  1802.  Intimate  with  Schil- 
ler; diverted  from  sculpture  by  mus. 
lessons  of  Poli,  etc.;  court  capellm. 
1792;  composed  8  operas  and  works 
for  'cello,  but  most  notably  20  bal- 
lads; first  of  many  comprs.  to  set 
music  to  Ritter  Togqenburg,  Leonore, 
and  other  ballads  later  treated  by 
Schubert,  Loewe,  etc. 

Zwintscher  (zvint'-sher),  Bruno,  pst. 
b.  Ziegenhain,  Saxony,  May  15, 
1838;  d.  March  4,  1905.  Pupil  of 
J.  Otto  and  at  Leipzig  of  Plaidy, 
Moscheles,  Richter,  etc.;  teacher  of 
pf.  there  1875-1896  when  he  re- 
signed and  went  to  Dresden  to  teach 
privately;  his  Technical  School  is  a 
continuation  of  Plaidy 's;  also  wrote 
School  of  Ornaments. 


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